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The Argentine “Dirty War”: Emergent Themes Despite Heart-Wrenching Disappearances

Nicole Moore Sanborn

Argentina’s “Dirty War” began in 1976. Accounts of the “disappeared” have left a generation of Argentinians searching for answers. At the hands of General Videla’s regime, in camps such as “The Little School,” human rights violations reminiscent of concentration camps in Nazi Germany were forced upon “subversives.” The Little School by Alicia Partnoy heartbreakingly recounts her disappearance to and survival within “The Little School.” Despite the Videla regime’s rise to power, atrocities committed, and the regime’s effects today, powerful themes of humanity, suffering, consciousness, resistance, and compliance emerge from sources like the Mothers of the Plaza de Mayo and Partnoy’s work.

The Videla regime responsible for the “Dirty War” came to power through a coup. Peron, once a beloved president, fell from grace and was exiled, after which the military came to power. Two leftist groups, the Monteneros and the ERP, emerged from the urban sector to combat repressive military rule. In an effort to end the conflict, Peron returned to Argentina and was reelected. In 1974, Peron died, and Isabella (his third wife and vice president) rose to power. The military took advantage of Isabella’s inability to rule, and controlled her. In 1975, the military passed the “Annihilation Decrees” to allow the repression of left-wing subversives, such as the Monteneros and the ERP. The Argentine Anticommunist Alliance (AAA) was formed with the intent to search and destroy guerilla groups, starting state-sanctioned violence in Argentina. General Videla rose to power in 1976, and the “Dirty War” began. From 1976-1983 the military government gave themselves broad powers to “stabilize” the nation and “eradicate terrorism” by whatever means necessary. Videla’s regime, in an effort to eradicate subversive ideas, sanctioned the “disappearances” of anyone suspected of treason. The “disappeared” were taken to places like the Little School, concentration camps seeking to break people’s spirits and get information. The Monteneros and ERP were heavily targeted. The disappeared were usually young and usually male, but that did not stop the regime from taking pregnant women. Those seized were simply “disappeared,” and families had no way of knowing the state of their loved ones. Petitions were filed. The Mothers of the Plaza de Mayo formed. Approximately 30,000 people were “disappeared,” and now Argentina cries, “never again.”

The regime’s effects, especially of devastation and pain, are demonstrated in the film The Disappeared and in Partnoy’s accounts of her survival. Cesar, born in a concentration camp to a “disappeared” woman, tells his story in the film The Disappeared. Cesar was raised by the maid of a military leader and not told about his history, but he searched and found the truth. Cesar eventually found his extended family, which never truly forgave those who raised him. If Cesar had found his family sooner, he may have met his recently-deceased grandmother, a family member may not have battled addiction, and the family would have been more stable. Also, Partnoy dedicates her book to her brother Daniel, “for whom life became so absurd that he decided to take his own.” The regime altered the lives and families of countless Argentinians.

Despite a tendency for people to negate the humanity of captors and captives as a coping technique, Partnoy sheds light on their humanity. In The Little School, Partnoy writes of her conversations with captors and captives. She references the prisoners and guards by name. Many of the guards went by nicknames, such as Chiche, Abuelo, and Chamame. In “The One Flower Slippers,” Partnoy notes the “guffaws” of the guards at the concentration camp when they noticed Alicia did not have shoes. Partnoy records a conversation she had with Vasca, another captive, about her new slippers that only had one flower. Laughter and conversation are signs of life and humanity. Later, in “Benja’s First Night,” Partnoy notes how Vasca asked for water and was brought water, but when Benja asked, he was beaten, showing the prisoners’ basic human need for water. Partnoy hears guards beating Benja for simply asking for water, and she writes, “The guards feel almighty, yet for some reason I believe he’s afraid: deep down he must have some memory of justice.” Instead of brutalizing and dehumanizing the guard who beat Benja, Alicia acknowledges his emotions and memories. She believes the guards act almighty because they are scared of what the regime will do to them if they are disloyal, and wonders in her mind if they have lost their humanity and knowledge of justice. Partnoy reminds readers of the humanity of all involved in the Dirty War so people will never forget the atrocities humans are capable of inflicting on other humans and to deeply move readers.

The Little School juxtaposes resistance and compliance. The prisoners resist the torture and the breaking of their spirits and minds, but their bodies comply and break. “Telepathy” provides a clear example of Alicia’s resistance and compliance. Her mind resists the breaking of her spirit when she says, “The following day I tried it [telepathy] again…. I woke up alarmed because I couldn’t remember where I had left my child for her nap. I opened my eyes to a blindfold that had already been there for twenty days.” On the same page, she notes how she received so many orders, such as, “Lie down! Hurry Up! Get out!” and talks of peace. “I didn’t have any peace now either, just the hope that there still remained a share of air for me to breathe in a future freedom.” Her mind hopes for the future, and she attempts telepathy to communicate with her family, remember her daughter, and maintain her spirit. Partnoy’s body complies with guards’ orders, but her mind flies freely, away from her situation. The tormentors fail to break her spirit entirely. In addition, the “Madwomen of the Plaza de Mayo” text references the mothers’ resistance to their children “disappearing” by signing petitions to pressure Videla to bring their children back, yet they comply to police orders to maintain their peaceful, yet angry, protest by separating. Consistently, those who fought the Videla regime resisted in their hearts and minds, yet complied with police orders.

Suffering and consciousness are also juxtaposed in the film The Disappeared and in The Little School. Cesar remembers considering suicide at ages 9-10. Cesar lived with a constant fear of consequences for resisting his caretakers. From an early age, he was conscious he did not fit in with his family. His suffering and consciousness of his own identity ultimately bring him to uncover the truth and find his real family. In The Little School, one particular quotation stands out as Alicia recalls her suffering and consciousness. Partnoy writes in “The Small Box of Matches,” “I hope that what really matters to me is to be whole…meanwhile, I’m being destroyed.” Her body is being consistently destroyed through torture, lack of hygiene, water, proper food, and being blindfolded. Alicia’s small box of matches keeps her fake tooth, knocked out when she hit the iron fence at the Little School. She keeps her tooth, because it is a part of her, and she wants to be whole. Alicia is conscious of her intense desire to keep her tooth, and considers whether she is only holding onto it so she has a belonging, or if she truly and innately desires to be whole again. Consciousness and suffering are constantly juxtaposed in Partnoy’s text, as the prisoners’ bodies and spirits are suffering, yet they are consciously aware and occupy their minds with thoughts of better things, so as not to entirely succumb to the breaking of their spirits.

The Argentine Dirty War brings to light human rights violations and fierce atrocities. The film The Disappeared, Partnoy’s The Little School, and the “Madwomen of the Plaza de Mayo” all illustrate from first-hand accounts the atrocities of the Dirty War, revealing details historical overviews alone can never tell. The Dirty War, though painful to study, must never be forgotten. The effects of the Videla regime will continue forever for families of the “disappeared ones,” and we, as historians and as humans, must never allow such atrocities to happen again.

Refuting Stereotypes: Occupations, Legal Rights, and Honor Among African-American Slaves in Latin America

Nicole Moore Sanborn

As a result of the system of plantation slavery in the United States and the absence of legal rights for African-American slaves, modern perception of slavery is very specific. The American school system teaches of one form of slavery, the one that operated in the United States until the late 19th century. As a result, students typically apply their perceptions of slavery in the United States onto Latin American slavery. Despite the modern stereotypes African slaves in Colonial Latin America were solely plantation slaves who lacked legal rights, the wills of Joaquin Felix de Santana and Colonel Manuel Pereira da Silva and Felipe Edimboro’s court case refute the modern perception of how slavery operated.

Slavery can take many forms. Typically slavery is associated with agricultural slavery, especially on plantations in the southern United States. Due to the system of slavery in the United States and mining operations and sugar plantations in Latin America, perceptions of slavery continue to fixate on the idea of slavery usually meaning plantation slavery. However, slaves in Latin America could also take on urban roles. Felipe Edimboro, a slave for Sanchez, was the butcher of Sanchez’ cattle. Sanchez also entrusted Edimboro to be the overseer of his 1,000-acre San Diego plantation, including over 800 cattle, 30 horses, and 30 slaves while he went away on business. Edimboro did work for a plantation owner, but his position was not a field worker. He presumably had enough leadership and business skills to be entrusted with such a large operation while his owner was away. Although the will of Captain Joaquin Felix de Santana and does not specify what he did as a slave, after manumission he served as a judge three times and worked as a counselor at the chapel of Our Lady of the Rosary. Colonel Manuel Pereira da Silva was the commander of the segregated black militia regiment, the highest government post available to a black man in Brazil. Although Santana and Silva served at these posts after manumission, if they had solely been agricultural slaves lacking in interpersonal communication, leadership, and business skills, they would not have been qualified to serve as judges and military commanders. Edimboro’s position during slavery and Santana and Silva’s roles after manumission question the idea of Latin American slaves working on agricultural plantations.

In the United States, slaves lacked legal rights, where African-Americans still struggled for civil rights well into the 20th century. In Latin America, however, slaves were awarded a number of legal rights. Spanish law awarded slaves legal rights including the right to own and dispose of property, buy their freedom, buy their family members freedom, and initiate legal action against their owners.

When a slave initiated a legal action against his owner, it was called coartacion. Coartacion required determining the slave’s “just price” by assessing his abilities (based on sex, customs, and skills). The slave then had to make a down payment to become a coartado, and received notarized manumission once paying his assessed sum in full. In the case of Edimboro, slaves’ rights were properly executed. Edimboro bought his freedom through initiating legal action against his owners and was properly represented according to law. Edimboro first chose Miguel Ysnardy to be his interpreter, then his assessor. Ysnardy was replaced with Manuel Rengil as Edimboro’s interpreter, at the request of Sanchez. Edimboro was assessed at 500 pesos, of which he paid 312 pesos on a down payment. The court granted Edimboro don Bartolome de Castro Ferrer (a public attorney) as legal counsel, who won the case for him despite Sanchez’s opposition. Three wills read from the Colonial Lives book showed instances where slaves bought their manumission from their owners. Joaquim Felix de Santana’s will included information on who he was owned by and declares he gained freedom from being a slave of Captain Felix da Costa Lisboa, paying him 135$000. Monetary amounts are denoted in the exact fashion as in the text. Colonel Manoel Pereira da Silva owned his own slaves, and in his will he declares upon his death, his slave Anonia would be assessed at 100$000 to give to his heir, with a period of one year to pay. Each of these men exercised legal rights.

Edimboro owned and disposed of property, and he as well as Colonel Manuel Pereira da Silva attempted to buy their family members’ freedom. Colonel Manuel Pereira da Silva’s first executer, Anastacia Pereira da Silva, was his natural child and slave, whom he purchased to freedom. He conferred her freedom through a letter of manumission April 25, 1796. Natural children were children born of parents who were not married but were legally able to marry at the time of their relationship. Edimboro originally sued for the freedom of himself, his wife Filis, and their young son. However, the marriage was not seen as legitimate before the court because they practiced it in private according to the Protestant tradition instead of being officially married into the Catholic tradition. It is unclear whether Edimboro successfully acquired the freedom for his wife and son in this court case. Slaves could earn money and thus buy property through a jornal and the journalero system, in which slaves could work outside jobs apart from their owners and receive a payment for this work. However, the slaves had to pay a certain portion of this jornal to their masters. Edimboro’s 312 pesos were saved up from the jornal money he and his wife saved. The best description in Edimboro’s court case of the jornal system is in Sanchez’s accusations of Filis (Edimboro’s wife) not paying her jornal to him. Through Edimboro’s court case and the wills of Joaquin Felix de Santana and Manuel Periera da Silva, it is clear slaves did have legal rights and could own and dispose of property, as these men exercised their legal rights.

Slaves in Latin America were not powerless but had the ability to shape their lives. Although it was difficult to acquire enough money to pay for manumission, it was legally possible. Telling this story and challenging the power structure in classrooms is tricky. The best ways to tell these stories are to look at court cases and wills, but this is rarely done outside of a college classroom. Textbooks tell of the encomienda system and indigenous people dying off but rarely mention African conquistadors or even seriously discuss African slaves, though the primary slaves were Africans. In Bahia, the province of Brazil the will documents originated, 40% of the population consisted of slaves, mostly Africans. Challenging power dynamics not only complicates students’ images of the past, but it also forces the United States to come to terms with the harsh realities of their slavery system. Modern stereotypes of slavery originate from students’ understanding of the slavery construct in the United States, one where African-Americans are not seen as equal under the law and were treated brutally. There was no jornal system and slaves could not own property.

While there were a few key white Spanish and Portuguese players in control, colonial Latin America had a system in place that allowed for slaves to buy manumission and saw them as people in the eyes of the law. Manuel Pereira da Silva rose to power and held a high militia position. Edimboro, though he had to take legal action, was able to purchase his manumission because the courts recognized his humanity and saw freedom as a natural state. It is up to future historians to paint a more accurate picture and challenge the social constructs in history books and find documents that show the lives of the less powerful people in Latin America.

The Pivotal Role of Natives and Blacks in the Conquest

Nicole Moore Sanborn

The Eurocentric view of historians and Spaniards alike has turned the Conquest into a romanticized time period neglecting the importance of natives and Africans in battles and colonial establishment. The myth of the white man being the primary conquistadors is refuted through evidence of the Tlaxcalans, Huejotzincans, and Maya helpers as well as Juan Valiente and other unnamed blacks. The myth of the white man has been perpetuated for a variety of different reasons and served very specific purposes in colonial times. Reshaping our view of the Conquest and shifting away from a Eurocentric view of history is vital to developing a better understanding of the exchange.

The myth of the white man being the primary fighters and victors of the Conquest originated because the most widely read accounts of the conquest, especially the conquest of Mexico, create the visual of Europeans triumphing over natives, no matter the odds (Restall 45). The romantic image of a few Spanish conquistadors miraculously defeating many natives is imbedded into history through writings about the Capture of Atahuallpa, the Alamo, and other events (45). Restall also argues the myth of the white conquistador is “a corollary to the handful-of-adventurers image, and is thus equally central to the conquistadors’ own portrait of the Conquest” (45). The ideas perpetuated in widely read history books not only romanticize the Conquest as solely the fruits of the white conquistador, but also distort the truth.

Despite the overwhelming number of natives and blacks that aided the Spaniards, if their contributions are mentioned, it is in passing. Pedro de Cieza de Leon both ignored and revealed black roles in his writings (60). Spanish and native sources make references to the black presence in the Conquest (57). Alvarado only mentions native allies once in his two letters to Cortes during the 1524 invasion of Guatemala. The mention of five to six thousand “friendly Indians” is juxtaposed against the 250 Spaniards, thereby providing clear evidence against the idea of the Spaniards as the sole victors (45).

In the colonial period, the myth of the white conquistador served various roles for the Spaniards, specifically Eurocentric thinking, the goal of obtaining titles, and keeping natives and blacks in subordinate roles or as slaves. Restall mentions the Songs of the Aztecs, which spins the Conquest as a native civil war resulting in incomplete Spanish domination (46). Restall argues this view is not only an alternative to the “predictably hispanocentric perspective of the Spaniards,” but is also a view found frequently in native sources (46). The probanzas de merito the conquistadors wrote to the king were written with the goal of obtaining titles such as Admiral, and thus were focused specifically on the merits of the author. If authors had included anecdotes about the importance of the native and black allies, the king might become concerned about the lack of power and leverage the Spaniards had over the natives, and may even doubt a conquistador’s leadership, therefore not giving the desired titles. By nature, probanzas de merito were self-serving and Eurocentric, thereby ignoring key native allies. Third, Spaniards desired to keep natives and blacks as auxiliaries or slaves. Restall notes Spaniards “considered it great hardship to go without them [native or black auxiliaries]” (51). Black slaves of Spaniards functioned as domestic servants, assistants, and servants who were armed by necessity (54-55). Black slaves were also expected to fill marginal posts on the outskirts of the Spanish towns (62). As armed servants, blacks were expected to protect their masters. If forced to fight an onslaught of natives, black servants could earn their freedom through fighting and surviving (55). After earning freedom through fighting, these blacks were still expected to take on the aforementioned marginal posts on the outskirts of town. A majority of Africans brought to the Americas were brought as slaves, and as a result of both their subordinate status and the Eurocentric worldview of the Spaniards, their central role in the Conquest was consistently ignored (53).

While Tlaxcalans, Huejotzincans, and Maya allies were essential to Spanish victory, they simultaneously pursued interests of their own. Combined, these examples refute the myth of the white man and demonstrate the white man would have failed without these allies. Despite the expansion of the Aztec empire, a small city-state of Tlaxcala maintained independence and presented both a danger and opportunity for Cortes (46). If the Tlaxcalans had continued their initial hostilities toward Cortes, he would have been forced to retreat (46). Indeed, a small Tlaxcalan faction was in favor of developing an anti-Mexica alliance with Cortes, enabling the destruction of the Aztec empire and Tenochtitlan. The Tlaxcalans ensured vital native support for Cortes, while the achieving their goal of disabling the Aztec empire for freedom (46-47). The Huejotzincans, who assisted the Spaniards in the conquest, were not tools of Cortes’s strategy, but used the Spanish to pursue their own interests. Specifically, the Huejotzincans used Spanish presence to engage their rivals, the Aztecs and the Tlaxcalans by overthrowing the empire in power and obtaining leverage against a rival city-state (48). Two major yet distinct Maya groups in Guatemala, the Cakchiquel and Quiche, were in a brutal civil war in the 1520s. The Spaniards not only used these groups as their own “allies” at various points in this civil war, but also used the groups against each other and against smaller Maya groups through exploiting regional politics and attempting (though ultimately unsuccessfully) to obtain control over the whole region (48).

Juan Valiente is an example of a successful black conquistador, and is therefore proof Spaniards and white men were not the only victors in the Conquest. Juan Valiente convinced his owner in 1533 to allow him to pursue conquistador status for four years as long as he brought his earnings back. Valiente fought in Guatemala, Peru, and later in Chile. By 1550, he had become a captain, horseman, earned an estate outside of Santiago, was granted an encomienda, and married. Before reporting back to his owner, he was killed by the Araucanians in 1553 (53-54). Valiente achieved a status as high as the Spanish conquistadors, but kept fighting instead of enjoying his new way of life, and as a result was killed in battle.

Two other instances of unnamed blacks demonstrate their vital role in the Conquest and act as proof the Spanish would not have survived without them. An African discovered fresh water in the Ecuadorian interior for a company led by Diego (Alvarado’s cousin) and another African saved Almagro’s life (60). Without these key yet unnamed participants, Diego’s entire company may have died and Almagro would not have reached the fame and recognition he has today due to an untimely death. Lastly, Restall does not mention this directly, but since black servants would fight to protect their masters, many were killed. Servants sacrificed themselves to the Conquest and for Spanish glory without being acknowledged. 

The aforementioned examples are a few of the recorded examples of native and black assistance in the Conquest. Many more unnamed allies assisted the Spaniards in their endeavors. Disabling the myth of the white man matters because it further reveals Eurocentrism in history and demonstrates the Conquest as we know it today is not the whole picture. Evidence of native and black allies also refutes the myth “a few great men” overthrew well-established empires. Without allies, the small groups of Spaniards would not have successfully gained power and overthrown the Aztecs, despite advanced weaponry. While recent scholarship is starting to convey the pivotal role natives and blacks played in the Conquest, the myth of the white conquistador and belief of whitewashed history still reigns supreme in many students’ minds.

Che Guevara’s Travels and Writings: Inequality, Power Transitions, Revolutions, and Ideals

Nicole Moore Sanborn

Ernesto “Che” Guevara transitioned from a medical student to a world-renowned guerilla leader and socialist. His journey through Latin America changed him and shaped his ideas. The film Motorcycle Diaries, analyzed in conjunction with Guevara’s writings, “Guerilla Warfare: A Method” and “Man and Socialism” provide insight into Che’s transition. The people Che met along his journey in Motorcycle Diaries, specifically the men trying to find work at the mining company, experiences with the leper colony in Peru, encounters with Incan culture and society in Peru, and works he read over his journey were key encounters that shaped Guevara’s thoughts on inequality, exploitation, capitalism, and imperialism, thoughts that echo in his writings.

An underlying concern of Guevara’s is the inequality he sees along his journey. His writings reflect the goal to remove inequality and elevate the poor masses. In Motorcycle Diaries, Guevara became angry with the mining company for not taking all of the men for work and not giving them water when they were thirsty and in the desert. Another instance of inequality that influences Che is inequality in the leper colony. The nuns, nurses, and doctors all wear gloves when interacting with the lepers, despite the fact leprosy cannot be spread by contact. The glove rule combined with the nuns refusing dinner to those who do not attend mass anger Guevara. The separation between religious and non-religious, the natural separation of the leper colony from the “clean” by the Amazon river, and the message wearing gloves sends to the patients, spark realization of inequality throughout Latin America.

Guevara becomes a man of the people during his journey. In “Guerilla Warfare: A Method,” Guevara references the Second Declaration of Havana and declares the rural population is the majority of the population of Latin America and that it lives under horrible conditions of oppression and exploitation (144). Guevara argues guerilla warfare is a means to the end goal of the seizure of power (142), necessary to level inequality. Directly referencing the Second Declaration of Havana, Guevara supports the claim revolution is inevitable and argues the necessity of a revolution is determined by conditions of exploitation in the nation he saw present (145). Guevara also fights inequality in his writing “Man and Socialism.” Che believes in a capitalist society, man is tied to society as a whole and one can win only at the cost of others (370-371). Specifically, Che references the capitalistic United States’ elevation of Rockefeller. Guevara sees Rockefeller not as an example of the success of capitalism, but as a prime example of inequality. He poignantly reminds readers few mention or give thought to the depravity, suffering of others, and poverty Rockefeller caused and required to acquire his fortune (371). Capitalism, then, is a root cause of inequality and must be replaced by socialism.

Imperialism, also evil in Guevara’s eyes, rears its ugly head in the film and both of Guevara’s writings. Motorcycle Diaries depicts a scene where Guevara is sitting in Machu Picchu and comparing it to Lima. He notes the Incas had math and science and built an empire and beautiful Machu Picchu, now a ruin for the ages. The Spanish defeated the Incas because they had gunpowder and built Lima, living out their exploitatively imperialist ways and building a much less beautiful city. Guevara also talks to an indigenous woman who tells her story of working with livestock, not being able to attend school, and only knowing Quechua, the language of the Incas. Because she does not know the Spanish language and is indigenous by blood, she is not able to either attain the same resources of an education or earn the same amount of money as Spaniards. Drawing from his experiences, in “Guerilla Warfare: A Method,” Che discusses how in an agrarian feudal system and society, guerilla warfare may develop to destroy imperialism (143). Che mentions the “worldwide crisis of imperialism” (145) and states his observation of a “reactionary alliance between the bourgeoisie and the landowning class of each country which has a greater or lesser preponderance of feudalism” (146). The dictatorship oppresses the proletariat (146) and is therefore imperialistic in nature. Most importantly, Che provides reasons for the masses to agree with the necessity of guerilla action to win their struggle. His second reason of three in favor of guerilla warfare is the struggle of the poor masses is fighting an “alliance between local and foreign exploiters” (151).

In conjunction with Guevara’s belief in an alliance of exploiters, in “Guerilla Warfare: A Method,” Che later states the national bourgeoisie has united with North American imperialism, which inevitably leads to the clash of the exploited and the exploiters though guerilla warfare fighting traditional warfare (157). North American imperialism appears to be a specific reference to the United States, which entertains his writings in “Man and Socialism” of the dangers of a capitalist (in his mind, also imperialist) economic system. “Man and Socialism” says, “the commodity is the economic cell of capitalist society” (371). Guevara’s “new man” has transitioned from being a slave of capitalism. Man as a commodity ceases to exist in Guevara’s ideal. In Che’s new society, man acquires a new status where he is not working as a commodity, but works for the fulfillment of his social duty (372). “Man and Socialism” also states “man truly reaches his full human condition when he produces without being compelled by physical necessity to sell himself as a commodity” (373). In his writings, he fights against the feudal system rampant with exploitation, feudalism, and imperialism. Imperialism, feudal systems (wealth of landowners and therefore exploitation of rural masses), and capitalism must cease to exist. Guerilla warfare will transition societies from feudal, capitalist, and imperialistic to one of proletariat dictatorship (Guerilla Warfare 145), equality, and working not as a commodity but for the good of society and of the masses.

Motorcycle Diaries shows Guevara reading Marx and Marti. Subtle, yet significant, Che’s readings on his journey ultimately influence his writings. Guevara read works written by Marti, Marx, and Lenin, all arguing for a new socialist society. Guevara connects the ideas he reads with the stories of the people he encounters, thereby justifying (in his mind) a call to arms in the form of guerilla warfare. In his writings, he references and quotes these men. “Guerilla Warfare: A Method” quotes Lenin and Marti. Guevara quotes Lenin saying class antagonisms are irreconcilable and immediately argues for a complete and total revolution and the total elimination of bourgeois legality, otherwise the nation will once again be enslaved (146-147). Che also quotes Marti discussing when to wage war in a country. Guevara uses this to further fuel his argument violence and revolution in the form of guerilla warfare ought to be used when the moment arrives, and that moment is now (147). Marxist-Leninism influences his thoughts in “Man and Socialism” when Che discusses the Marxist ideal of man reaching his human potential when he ceases to sell himself as a commodity.

Che Guevara was a man who had to reconcile his seemingly compassionate nature with his ideological belief in the need for guerilla warfare and violence in revolution. His compassion is evident in his interactions with and listening to the stories of the people he encounters. Che has compassion on the sick in Motorcycle Diaries, despite the fact they are dying. The medical side of him shows his innate desire to cure humanity. Guevara’s ruthlessness, however, is evident in his writings, especially in “Guerilla Warfare: A Method.” Che’s innate desire to cure humanity, his inspiration by Marti, Marx, and Lenin, and his alignment of ideological views with those writers causes him to desire a violent overthrowing of the current state. Guerilla warfare is a necessary means to an end. The oppressive landholders, feudalism, imperialism, capitalism, and inequality must be reversed and overthrown. Che’s ultimate ideological shift remains rooted in his innate desire to cure, and though he clearly prescribes a violent revolution, he sincerely believes it is the only means to an end he believes will cure his continent.

Satan’s Illusions of Power and Grandeur

Nicole Moore Sanborn

In John Milton’s Paradise Lost, Book 1, Satan and his supporters wind up exiled from heaven, and Satan calls forth his troops. Some believe Satan wields true power in hell after his fall from heaven due to Satan’s empowering rhetoric, the seeming control the demons have over their current situation, and their appearance of having free will. However, due to multiple references made to God’s perfect plan, Satan’s inability to resist God, the defeat of demons, and the difference between free will and power, it is apparent Satan does not wield true power in hell after his fall. Strong cases can be argued for both sides. However, through subtleties in Milton’s writing and the nuances he leaves the reader with throughout Book 1, Milton demonstrates Satan’s power is merely illusory.

Throughout Book 1, both Milton and Satan allude to God’s plan for mankind, thereby demonstrating Satan’s power is merely illusory. These obvious declarations of God’s plan is the primary example proving Satan does not wield true power, as the supporting examples tie in to this. Milton announces his purpose in writing Paradise Lost is to “justify the ways of God to men” (26). Book 1, therefore, demonstrates the ways of God by throwing Satan and his followers out of heaven. While the simple declaration of justifying the ways of God to men does not prove Satan’s power is illusory, Milton uses this declaration to pave the way for more compelling examples. For example, Milton begins to justify God’s ways through declaring Satan and his followers were thrown from heaven because they “transgressed his will,” proving God has power over all (31). This example combined with Milton’s references of man eating the forbidden fruit and needing Christ’s redemption proves God especially has power over transgressors of his will. Satan does not have power over God, proven by God’s preparation and knowledge, as further evidenced where Milton states hell was a place “Eternal Justice had prepared for those rebellious” (70-71). The preparation of hell is a compelling statement illustrating Satan’s lack of power and foreknowledge. If Satan wielded true power, he would have been able to resist God throwing him from heaven. Furthermore, Milton notes paradise, or heaven, was lost to mankind “till one greater Man / Restore us” (3-4). By “greater Man,” Milton means Jesus Christ, the Son of God. Milton’s reference to the restoration of mankind proves God’s foresight over the whole situation, as this example works together with the later declarations of God’s divine power and foresight over Satan attempting to thwart him. The aforementioned qualities of God are juxtaposed to Satan’s lack of control and power.

Some could argue evidence for the argument of Satan wielding power lies in the powerful rhetoric of his speeches, where he gives the other demons hope. Other evidence from his speeches says otherwise, where Satan and Beelzebub recognize God’s power. When these references to God’s power by Satan and Beelzebub are analyzed in relation to God’s overarching plan for mankind, the idea of Satan’s power being illusory becomes evident.

Satan’s uses rhetoric in a fruitless attempt to perpetuate his illusion of power. His misconception of power partially stems from observations of the sheer number of his followers. In discussing the issue of being thrown from heaven, Satan remarks that he “brought along / Innumerable force of spirits armed / That durst dislike his reign, and me preferring” (100-102). Simply because Satan has followers does not mean he has power. Satan attempts to rally his troops by saying, “all is not lost” (106), later realizing the folly of his illusion.

The synthesis of Satan and Beelzebub’s rhetoric further contradicts the idea of Satan wielding true power. Beelzebub says to Satan that he “endangered Heav’ns perpetual King” (131), and Satan refers to God as the “Monarch in Heav’n” (638). Satan and Beelzebub both directly state God’s kingship. Satan’s use of the specific word “perpetual” must be noted here. Since Satan attempted to reign in heaven and failed, thereby only acquiring followers in heaven for a temporary time, his exile from heaven directly contrasts God’s perpetual kingship in heaven. The lines where Satan perpetuates his idea of power are contradictory not only to the truth, as God’s foresight and plan for mankind was proven above, but also contradict later lines where Satan admits God’s power and therefore questions his own. Due to his misapprehension of power, Satan underestimates God’s power. Satan notes God concealed his strength, which “tempted our attempt, and wrought our fall” (642). Here, Satan admits God has more power than him, a realization he doesn’t come to until his exile. Beelzebub also admits God is omnipotent, and his argument is none but the omnipotent could have foiled their plan to thwart heaven (273). God is portrayed as “all powerful,” realized by Satan when he admits God concealed his own strength, especially because Satan mentions (in agreement with Beelzebub) only an almighty power could have thwarted him from overtaking heaven. Clearly, God is almighty in this text, because, by Satan’s logic, if only an almighty power can thwart him, and Satan was thwarted and thrown from heaven into hell, the argument that follows is God is almighty. By Satan’s own logic, he destroys the idea of having power, though he believes in other passages that he has power. Deep down, Satan knows he does not have true power, but will fight God anyway.

Furthermore, Satan’s illusions of power and grandeur caused him to attempt to thwart God, and Milton’s writing demonstrates what a fruitless attempt that was. Beings of power can resist beings of other power, meaning if one truly has power, he should be able to fight someone else with power for at least a small amount of time. Satan could not resist God. Milton states Satan “trusted to have equaled the Most High” (40). This manifests a judgment of Satan through noting his illusions of grandeur of attaining equality with God. Milton declares Satan waged war against heaven “With vain attempt,” an outright statement Satan’s war against God was completely vain and produced no fruitful results (44). That is, produced no fruitful results to the end of Satan gaining equality with God and therefore power over heaven. His fruitless attempt was due to his illusion and “trust” of possessing equality with God. To prove further Satan’s attempt to overthrow God was fruitless, Milton states the “Almighty Power / Hurled headlong flaming” (44-45). Not only did Satan fail to thwart God, God saw this in advance and violently flung Satan from the sky. A few lines later, Satan and his cohorts “lay vanquished” (52). The term “vanquished” connotes an utter destruction of a foe, meaning God did not just win the battle but vanquished Satan. Not only this, but God subjected Satan to a place where there is “torture without end,” torture Satan has no power to change but can only make the most of through acting more evil (67). When Satan attempts to pick himself back up, he observes his number of followers to puff up his own hubris, as referenced earlier.

Satan cannot heal himself, and therefore does not have true power. A striking example of Satan’s illusion of power is after God throws him out of heaven Satan is disfigured. If Satan truly wielded power, he would have been able to heal his face and the lightning would not have altered his appearance. Clearly Satan could not heal himself, because Milton writes “but his face / Deep scars of thunder had intrenched” (600-601). Here, “intrenched” means furrowed. Though Satan still shone and could shape shift, as noted when he stretches himself out in length (609), Satan did not have the power to alter the deep scars God’s power left upon him. This fact also relates back to God’s foresight over the whole situation, because God prepared Christ to restore mankind to heaven and prepared a place for Satan and his followers in hell.

Some would equate free will with power and therefore make the argument that because Satan and his followers have free will, they have power. The question remaining is why God would give Satan and his followers free will without power. However, correlation is not causation here. Free will and power are different things. Satan had the will to fight God in heaven, but his exile proves he did not have power. The demons do have free will, evidenced in their ability to shape shift. Milton says the demons “transform / Oft to the image of a brute” (370-371). The references mentioned above where the demons reference God’s omnipotence must be taken into account. God, in his omnipotence, gave the demons free will and prepared a place in hell for them (70-71). But, God had foresight and prepared a redemption plan for the world (3-4) despite man’s disobedience. God has omnipotence; the demons only have free will. 

Despite the fact many demons listed in the catalogues of demons were undefeated, mankind and God were victorious over others, which proves Satan’s idea of power is false. God’s forces did not defeat many demons listed, and some will attempt to use this fact in favor of the argument of Satan wielding power. Among the undefeated demons are Moloch, Baalim and Ashtaroth (plural forms of the male and female gods, respectively), Astoreth, Bimmon, and Belial. While it seems an overwhelming number were not defeated in the text, in the beginning of Book 1 Milton foreshadows a future event involving the “Greater man” who will redeem mankind (3-4) not only from the forces of hell but also from these specific demons. Therefore, by foreshadowing early in Book 1, Milton demonstrates Satan’s power is illusory, despite the later references saying demons gained some power over mankind. Simply because a select few gain power over mankind does not mean Satan has true power over eternity. In favor of Satan’s power being merely illusory, Milton mentions major demons that were defeated by God’s forces. The text states Josiah drove Chemos to hell (418). Chemos was worshipped in Israel and caused lustful orgies. Another catalogue of demons include Osiris, Isis, and Orus, all worshipped in Egypt. The text says “Jehovah…who in one night…equaled with one stroke…all her bleating gods” (487-489). By “equaled” Milton means leveled. Although fewer demons are defeated than worshipped, due to Milton’s foreshadowing of the restoration of mankind and humans thwarting the demons (Josiah) as well as God (Jehovah), the text proves Satan’s power is merely illusory. If his power were real, the demons could not be vanquished and Satan would rule not only on earth but also in heaven.

Satan and his comrades are powerless when matched against God’s almighty power and plan. Although some believe Satan wields true power in hell after his fall from heaven, Satan’s “power” is merely illusory. Through the nuances obtained from reading Satan’s speeches, subtleties in Milton’s writing, and God’s continual display of power, it becomes clear Satan is powerless. Satan will attempt to fulfill his illusions of power and grandeur and attempt to thwart God’s plans, to no avail.

Aggression and Mortality vs. Immortality

Nicole Moore Sanborn

Renaissance writers often employ the same theme, simultaneously demonstrating their own unique style and flair. Popular Renaissance themes include love, beauty, and immortality of verse. Although Spenser and Shakespeare write about the same theme of immortality of verse, Shakespeare utilizes animal imagery and a more aggressive tone in his “Sonnet 19”, whereas Spenser utilizes dialogue and a happier tone in his “Sonnet 75”. The varying aforementioned aspects, specific words, and imagery of each sonnet join together to create coherent ideas and reveal the overall themes.

In the first line of each sonnet, the speaker reveals the tone. Although the same theme is employed, the tones are disparate from one another, as Shakespeare is aggressive while Spenser is happy. Shakespeare begins with “Devouring Time,” (19.1) whereas Spenser begins with “One day” (75.1). Devouring is a very strong term. In this case, devouring has a negative connotation, as it is followed by time, as time causes destruction. This means Time is personified here, indicated immediately by the fact that it is capitalized and it is devouring, an aggressive action. The capitalization suggests Time is a name, and nonliving things cannot act or devour. Spenser’s “One day” (75.1) implies a story, as many romances and fairy tales begin with those two words. Spenser’s sonnet reveals a more positive tone in the first two words, as fairy tales are considered to have happy endings and Spenser’s sonnet begins in the same manner as a fairy tale. These tones hold true for the remainder of each sonnet.

Although the first two words of each sonnet successfully and intentionally reveal the respective tones of the poems, these words accomplish different things in revealing the theme. The first two words of Shakespeare’s “Sonnet 19” reveal the theme of the sonnet, while the first two words of Spenser’s “Sonnet 75” do not. Shakespeare’s “Devouring Time” (19.1) relates strongly to revealing the theme of immortality of verse. Immortality is the ultimate defeater of time, because immortality lasts forever. Therefore, immortality deceases when time deceases, because the ending of time marks the ending of forever. Although Shakespeare does not fully engage in the theme of immortality of verse in line one, he begins to imply it, whereas the first two words of Spenser’s sonnet imply a story is about to be told and therefore do not relate as strongly to the overall theme. “One day” (75.1) does indeed relate to time, but relates to mortality rather than immortality, as the words refer to one day in mortal human history. Rather, the first two words are a set up for the rest of the sonnet, where the theme is revealed later. Spenser’s first two words set the foundation for the dialogue in the rest of his poem.

Shakespeare uses animal imagery with three specific examples: a lion, a tiger, and the phoenix. These examples lead up to the turn of the sonnet and to the speaker’s confrontation of time (19.8).  As each animal used is a fierce and majestic creature, the specific examples are important to the overall meaning and in providing more evidence for the sonnet’s aggressive tone. The speaker tells time to “blunt the lion’s paws” (19.1) and “pluck” teeth from the “fierce” tiger (19.3). Lions and tigers are both powerful animals, and any human attempting to blunt a lion’s paws or pluck the tiger’s teeth will be mauled in the process, thereby separating time as a transcendent power. Time devours these fierce animals that humans can hardly tame. Shakespeare tells time to “burn the long-lived phoenix” (19.4), which is a reference to the legend that every 500 years the phoenix burst into flames and death, where from the ashes a new baby phoenix would emerge. An aggressive tone and the personification of time are also demonstrated here; as Time burns, which is a verb. The specific examples used mean and demonstrate that time is intently and aggressively devouring and destroying fierce animals on the earth. Personification of Time is also demonstrated here because the imagery declares the physical action of time, as demonstrated through the speaker’s use of aggressive words. Specific examples used here, therefore, are carefully and artfully chosen to relate to the aggressive tone and ideal of the sonnet.

The speaker in Shakespeare’s poem tells time to do whatever it would like “to the wide world and all her fading sweets” (19.7), which sets him up for the turn in his sonnet and the change in argument. At the turn, the speaker expresses the thought that time can do whatever, except for one thing. Forbidding Time to commit one “heinous” crime (19.8), the turn of the sonnet occurs and the theme is revealed. The specific examples and animal imagery used demonstrate clearly the actions of Time, however Time is not tied into writing and verse specifically until later in the poem. The speaker commands Time not to touch his love. “O carve not with thy hours” (19.9) commands time not to touch his lover like it ages the phoenix, preparing the reader for the final line, which explicitly states the theme of immortality of verse. The final line states directly that love shall “ever live young” (19.14) in his verse, implying immortality. He implies immortality through use of “ever” (19.14) meaning forever. These words also specifically defy time, as she shall forever be young in his verse, thereby bringing all of the examples of what time will devour and conquer into fruition through this counterexample. The counterexample also becomes the main theme of the sonnet and brings the reader resolution.

Spenser tells a story in his sonnet rather than directly confronting and personifying time before he reveals his theme. In the first quatrain of Spenser’s “Sonnet 75”, the speaker writes his lover’s name on the sand at the beach twice, but the tide washes it away both times. In story format, these occurrences set up the author’s theme of immortality of verse, revealed more clearly in the first quatrain than in Shakespeare’s “Sonnet 19”. Though Shakespeare’s sonnet is clearly about time, time has not yet been related to writing or verse. However, Spenser automatically reveals the theme of immortality of writing and verse because he writes his lover’s name on the sand. Writing on sand is far from immortal as sand shifts and waves crash over the beach, erasing what was once there. Beaches change by the minute and hour, and the beach will hardly look the same after one day. Later in the sonnet, the lover calls the speaker a “vayne man” (75.5) and proceeds to note that just like her name on the sand, “I my selve shall lyke to this decay” (75.7), meaning she will also decay and will not last forever. Here, the speaker immortalizes mortal things purposefully, to prepare the reader for the idea of verse being immortal. That being said, the second quatrain sets up immortality of verse in a different way, by noting the mortality of earthly things such as sand and humanity.

Another interesting aspect of Spenser using the image of writing a name on sand is that it involves sea imagery. In other sonnets by Shakespeare and other authors, sea imagery is used; however it is used more steadfastly as the authors and speakers in the poems allude to steadfastness of a lighthouse or of a strong ship as opposed to gentle sand and writing being washed away. Spenser’s different use of sea imagery sets his theme up well, as it demonstrates that not everything involving the sea and the ocean is steadfast. He essentially uses sand as a counterpoint to the reveal his point that although sand does not last forever, his poetry will.

In the second half of the third quatrain in Spenser’s sonnet, the speaker more directly reveals the theme of the sonnet: immortality of verse. The speaker says, “My verse your vertues rare shall eternalize” (75.11), stating he will write about her not only in the sand but also in his verse. In the couplet ending the sonnet, the speaker mentions that death will swallow up the world, but their love shall live through his verse. The speaker is extremely direct here and states the theme directly, there is no speculation as to what he is saying. The theme is resolved here, as the speaker writes in a non-permanent way, is reminded of mortality, and then directly states that his verse shall live and their love shall live in it, or, his verse shall be eternal after the world is subdued. The idea is that the sonnet will be passed down among generations, thereby immortalizing it.

The turn of Spenser’s sonnet occurs at the beginning of the third quatrain. The turn also takes place when the speaker of the poem engages in dialogue in response to the mistress. The turn begins to direct the reader to the sonnet’s theme, as highlighted earlier. The speaker presents the turn of the poem, as he begins with “Not so” (75.9), indicating a contradiction of belief. The speaker contradicts the mistress’s speech of decay to reveal the theme when he declares she “shall live by fame” (75.10) within his verse in an immortal manner. Though the final line of the sonnet gives resolution to the theme of the poem, the theme begins to flesh out in the third quatrain right after the turn, in the quoted line above. Next, the idea of her living in his verse is directly stated “My verse your vertues rare shall eternize” (75.11), contradicting the earlier decay she mentions in line seven. Spenser’s “examples” and means to reveal the tone and theme of his sonnet is dialogue as opposed to specific animal examples, making it such that Spenser employs his theme in a different manner than Shakespeare.

Shakespeare begins his turn with “But” (19.8). In this line, the speaker directly challenges time and begins his command, indicated by the colon at the end of the line. The use of the colon is very important to the sonnet, as it indicates to the reader that the command to time will be explicitly stated in the next few lines. Beginning in line nine, Shakespeare reveals the theme of immorality of verse more clearly, yet without dialogue. In the rest of the sonnet, Shakespeare acknowledges the ability of time to devour even the fiercest of creatures as well as tarnish the whole “wide world” (19.7), thereby personifying time. The theme is not explicitly stated until line fourteen of the sonnet, where Shakespeare writes, “My love shall in my verse ever live young.” (19.14). Commanding time to leave his lover alone, the speaker hints that he will write about her through using the words “antique pen” (19.10), making a direct reference to writing. Shakespeare’s sonnet differs from Spenser’s sonnet, therefore, in that Shakespeare does not use dialogue but specific examples and in that Shakespeare waits until the very end of the poem to definitely resolve the poem and explicitly state theme of immortality of verse. Both sonnets provide resolution at the end.

Spenser and Shakespeare present two extremely interesting examples of utilizing different means to go about revealing the same theme. Shakespeare uses aggression and fiercely aggressive animals, while Spenser uses dialogue and a happier tone. Both “Sonnet 19” and “Sonnet 75” provide resolution at the end, and both authors use the turn of their sonnet to transition from specific examples or dialogue to a more direct statement of the theme. Fortunately for the reader, both authors resolve the theme of their sonnets. Both brilliant authors, Spenser and Shakespeare are extremely successful at employing the same theme through completely different attitudes, examples, and lenses, and are therefore two brilliant authors among Renaissance writers.

The Use of Impression Management Tactics

Nicole Moore Sanborn

As in any industry, many problems exist in the industry of business and in what is commonly referred to as “the business world.” Interviews are a major tool used within the realm of business to get to know people as well as determine job capability. It is important to note here that interviews are widely used, so this is not just an issue within business. Within interviews, it is common for interviewees or applicants to attempt to alter how interviewers perceive them with what are called impression management tactics. Impression management tactics are a concern within interviews and many believe the use of these tactics is a serious problem. Many argue against the use of impression management tactics, saying they sway the interviewer toward the applicant too much and thus alter who is employed. The problem of the use of impression management tactics within interviews needs to be observed more thoroughly and addressed. Once addressed, a solution should be executed. The best and primary solution to the solving the issue of the use of impression management tactics is increasing interview structure, thereby giving the employers more control and ways to better detect the use of impression management tactics.

Some classify impression management tactics in two forms: verbal and nonverbal. Verbal impression management tactics can further be classified into self-focused tactics (directing the conversation towards themselves) and other-focused tactics (directing the conversation to the interviewer or the company). Within self-focused verbal impression managements there are more subcategories: self-promotion (demonstrating qualifications), exemplification (convincing the interviewer that the applicant’s behavior can be used as a model for others), and discussing how the applicant is responsible for past achievements (Chen, Chiu, and Tsai, 2005). According to Aleksander Ellis, Bradley West, Anne Marie Ryan, and Richard DeShon (2002), another definition for impression management tactics is “a conscious or unconscious attempt to control the images that are projected in social interactions” (p. 1200).  Ellis et al. (2002) claims there are two broad categories displaying types of impression management tactics: assertive and defensive. Ellis et al. (2002) defines assertive tactics as self-promotion tactics and ingratiation tactics. The self-promotion tactics are the same as the ones listed above, with the emphasis being to display competence and intelligence and make a favorable impression to the interviewer. Ingratiation tactics are essentially the “other-focused” tactics above, that is, when an applicant seeks to evoke interpersonal liking and establish good rapport with the interviewer. Defensive tactics, however, are designed to protect or repair one’s image. Defensive tactics include excuses, justifications, and apologies. Defensive tactics are used less often than assertive tactics. Defensive impression management tactics are most commonly used to justify past behavior and potentially to spin a negative quality in the applicant’s favor (Ellis et al., 2002). 

The traditional interview has historically been scrutinized and left suspect to whether or not it truly examines and determines the qualifications and the preparedness of the applicant for the job position. More structured interviews are becoming more and more common, and researchers favor them because they are less prone to issues such as impression management (Ellis et al., 2002). A wide array of topics and actions fall under the term “impression management tactics.” They are exactly as they sound: tactics applicants use to manage their impression before their interviewer. What does impression management look like? The first aspect of impression management is in making the first impression. Robert Lount, an assistant professor at Ohio State University, says “First impressions matter when you want to build a lasting trust. If you get off on the wrong foot, the relationship may never be completely right again” (Quast, 2013, par. 3). According to the Image Consulting Business Institute, image management is “the ongoing, pro-active process of evaluating and controlling the impact of your appearance on you, on others, and the achievement of your goals” (Quast, 2013, par. 4). Lisa Quast (2013), contributor to Forbes magazine, lists five things to consider when making a positive first impression: attire, calculated verbal communication, evaluation of non-verbal communication, wariness of attitude, and scrutinization of grooming, including hair, makeup, and cleanliness. 

According to Ellis et al. (2002), the relationship between an applicant’s use of self-promoting tactics and higher interview ratings is a result of a theory called the attribution theory. Attribution theory suggests that humanity has an inherent need to understand the behavior of other individuals and evaluate the cause of other individuals’ actions (Ellis et al., 2002). Thus, the interviewer, when evaluating an applicant, may attribute actions during the interview to the use of self-promoting impression management tactics and maintaining their overall image. Because the interviewer attributes an applicant’s actions to impression management tactics, the theory is titled attribution theory.

Why is the use of impression management tactics an issue? Many believe the use of these tactics is an issue because the use of tactics may sway the interviewer one way or the other in their review of the applicant. Suppose a well-spoken individual applies for a job and uses impression management tactics during their interview. Meanwhile, another individual who is less well spoken but better qualified walks into the interview and either does not use impression management tactics or does not use them as well. If the interviewer favors the first individual over the second individual due to the use of impression management tactics (tactics which made the first individual more likeable or appear more qualified), the use of these tactics could become an issue.

When observing the negative aspects of the use of impression management tactics, one must consider industry. Some employment opportunities have a “customer-contact requirement.” (Chen, Chiu, and Tsai, 2005). Sales representatives must prove job competence when talking to customers. Journalists must be able to present themselves well to conduct interviews. Public relations and marketing employees must network and expand the horizons of the company. Essentially, there is a customer-contact requirement in many job and business settings. However, employment opportunities for scientific research jobs or jobs in the engineering field have less of a customer-contact requirement. While these people must know how to present themselves, they do not go out and talk to the public or other businesses on a daily basis, and thus the ability to use impression management tactics well is far less important. Impression management tactics are also less of a problem in these fields. This paper observes business-specific interviews, where employees are required to be in contact with customers more frequently. Thus, impression management tactics affecting and intervening with employment decisions is more widespread in the realm of business.

This poses an issue for interviewers. If the applicant uses impression management tactics to sway the interviewer to approval, the issue of authenticity within the interview arises. Karl Nunkoosing (2005) discusses the issue of truth and authenticity in interviews. In his essay, the interviewer is considered a researcher. The interviewer is indeed a type of a researcher, gathering information from stories about applicants. Nunkoosing poses the issue of the “researcher” or the interviewer only basing employment decisions off of the stories applicants tell. He argues that not only does the applicant choose the aspects of life he or she is most interested in telling, but also that a person may “have a well-rehearsed story totell” (Nunkoosing, 2005, pg. 701). The issue of impression management even boils down to what stories are told.

Amy Gallo (2012), author in the Harvard Business Review, cites John Lees, a career strategist and author of books about interviews. Gallo says that Lees dismisses the advice to “be yourself” in an interview. He emphasizes being the best version of you. His advice essentially screams the use of impression management tactics to put your best foot forward in an interview setting. However, simply because one is being the best version of themselves does not mean they are being a false version of themselves. It must be pointed out here, however, that impression management tactics do not necessarily fabricate someone’s personality. The issue of the use of impression management tactics swaying the interviewer ties into Lees’ advice to “put your best foot forward” and persuade the interviewer to favorably judge. The issue is that you do not know if the applicant is lying about their personality, tendencies, or capabilities to appear favorable. In some extreme cases, lying is a possibility. Other times, resources could be wasted attempting to figure out whether or not the applicant is lying. Companies have more important issues to attend to than to figure out whether or not an interviewee is being hurtful. Thus, the use of impression management has the potential to be a problem in many facets of business.

Another aspect that must be taken into consideration is the type of questions being asked in an interview. Ellis et al. (2002) divide interview questions into two types: situational and experiential. These two types of questions are commonly referenced in many other sources. Experiential interview questions are questions about an applicant’s past experience and focus on what has already been accomplished. Ellis et al. (2002) hypothesizes that more self-promotion tactics are used in answering experiential questions. This makes sense, as self-promotion tactics include self-promotion (qualification focused) and exemplification (saying they could be a model for behavior) tactics. When an applicant focuses on his or her past achievements they will focus on why they are qualified for the job and look to past achievements to prove he or she can be a model employee. Situational interview questions focus on the future, where the interviewer asks the applicant what they would do if put in a specific future situation. The use of more ingratiation tactics is expected (Ellis et al., 2002) in answering situational questions, specifically justification, where the applicant would justify their behavior in a future situation the interviewer asked about. Because different tactics are used when different questions are asked, it can be difficult to determine the totality of the effects that the use of impression management tactics has on interviewers. The use of impression management tactics is a problem nonetheless that needs to be solved so that interviews are based more on the qualities and qualifications of the applicant rather than on how much the applicant persuaded the interviewer to act favorably toward them.

The best solution to the issue of using impression management tactics in interviews is increasing the structure of interviews. Before interviews can be restructured, the current structure of interviews must be observed. According to Northwestern University (2013), every interview follows a similar structure. In each interview, there is the arrival of the applicant (nonverbal cues are utilized here), the introduction to the interviewer, an information exchange, and the wrap-up. Within the information exchange aspect, four different question types are asked: behavioral, closed-ended, preference, and follow-up questions. Behavioral questions focus more on past behavior of the applicant and experiences, while closed-ended questions typically have brief answers and are where the interviewer has more control. Behavioral and preference questions are more open-ended and are where the applicant can typically take charge. Preference questions are exactly as they sound: the interviewer asking about the preferences of the applicant. Follow-up questions are typically asked in response to an applicant’s answer to a specific question and are where the interviewer can take charge and direct the conversation. The introduction and wrap-up aspects of the interview are quite similar, as both typically involve a handshake and either introductions or farewells. However, in the wrap-up, the employer typically asks the applicant if they have any questions. At this time it is important for the applicant to demonstrate how interested they are in the job position as well as how serious they are about getting hired (Northwestern, 2013). Even in structured interviews the basic layout above remains. According to the online Business Dictionary (2014), a structured interview is a “fixed format interview in which all questions are prepared beforehand and are put in the same order to each interviewee” (BusinessDictionary.com, 2014). Structured interviews are said to provide precision and reliability that is required in certain situation (BusinessDictionary.com, 2014).

One way to decrease the effectiveness of the use of impression management tactics is to know how to spot types of employees the company is not looking to hire. Carol Goman (2013), contributor to Forbes.com, writes about how to spot a liar during an interview. While outright lie detection is not directly related to impression management tactics, some of these tips can also be used to spot the use of impression management tactics. She suggests watching for stress signals and watching the applicant’s eyes. By watching for stress signals, the interviewer can observe when the applicant attempts to calm himself down and attempt to manage the interviewer’s impression of him. When this is observed through noticing the applicant’s eyes, the interviewer can guard himself from impression management tactics. Another tip is to notice when the applicant isn’t really answering the question, but is finding a way to avoid the direct question that was asked. This can be an attempt to cover something up or manage an impression (Goman, 2013).

The final two tips Goman gives are to listen to vocal stress and detect emotions hidden by smiles. If it seems obvious that the applicant is stressed or is covering up a feeling by smiling, impression management tactics are most likely being used to either cover something up about the applicant or give a false impression of who he or she truly is. Admittedly, the interviewer could exaggerate detecting these signals (they could think the applicant is lying and be wrong), and signs of stress could simply be related to the fact that the applicant is in an interview for a position they are trying to obtain. As a result, these tips for lie detection as they relate to impression management tactics are only the beginning of the solution to decrease the efficacy of the aforementioned tactics. 

As previously stated, the best solution to combat the efficacy of impression management tactics is to increase the structure of the interview. Now that the structure of interviews has been explained and tips for interviewers to use to detect the use of impression management tactics have been given, how to structure the interview will be discussed. As explained earlier when defining impression management tactics, the issue is also an issue of industry, and this paper is business specific. Beth Leech of Rutgers University writes about techniques for how to ask questions in interviews (2002). The first step is for the interviewer to establish rapport. Rapport in this sense is not simply making the applicant feel comfortable. The interviewer should appear professional and generally knowledgeable about the applicant, without knowing too many specific details but appearing to know the basics of the applicant. Leech also discussed question wording in interviewers. The words used in the questions being asked should be non-judgmental, non-suggestive, non-presumptuous and non-threatening. If the interviewer knows the applicant did not like their old boss or was in a sticky job situation or maybe messed up in a previous place of employment, the interviewer should watch the question working. If the question seems accusatory, the applicant is likely to put up walls and engage in impression management tactics to attempt to control the situation. When non-suggestive words are used in a question, the applicant is more likely to give the interviewer more information (Leech, 2002). Thus, wording and what angle the interviewer is coming from plays a role in an applicant’s use of impression management tactics. Interviewers should carefully consider how questions are worded to get the most honest answer from their applicants.

When structuring interviews, question type is imperative. Question type can be the key to controlling the interview and can be used to determine whether or not the applicant is engaging in impression management tactics. Pulakos and Schmitt (1995/2006) say that two types of interview questions are experience based questions and situational questions. Situational questions discuss the future, where the applicant explains what he or she would do in a future situation while on the job. Experience-based questions, however, look to past experiences and actions to determine the preparedness of the applicant. An example of a situational based interview question is as follows: “What actions would you take in a situation where you know another employee is faking the books or embezzling money from the company?” An example of an experienced based interview question could be “What have you done in the past that has prepared you to organize the books and financial records of the company?”

Pulakos and Schmitt (1995/2006) conducted a study to determine whether situational questions or experienced based questions are better to determine future job performance. It is important to note here that applicants can and will still use impression management tactics when answering each question type. The goal is to find a solution where the interviewers are more in control and aware of the use of impression management tactics, thereby rendering the tactics less effective. Pulakos and Schmitt (1995/2006) found that although situational questions were viewed as potentially better to determine job performance, their hypothesis was incorrect. Experience-based questions were a better predictor of job performance, according to the meta-analyses and statistical analysis of the data collected (Pulakos & Schmitt, 1995/2006). Therefore, experienced-based questions should be used to better predict job performance. Interviewers should ask these questions and watch for the use of impression management tactics.

Although applicants can choose which experiences to discuss in the interview and manage their impression as such, looking to past experiences is a better predictor of job performance, as previously stated. Employers should be aware that impression management tactics will be used but should be able to detect them better. Therefore, to be more in control of the interview, despite the use of impression management tactics, interviewers should primarily ask experience-based questions. This way the interviewer can close in on the applicant and make a judgment as to whether or not he or she is telling the truth. If enough experience-based questions are asked, the interviewer will get a broader sense of who the applicant truly is by controlling the interview and forcing the applicant to tell of enough past experiences. The interviewer will still have to watch for the use of impression management tactics.

Impression management tactics are commonly used in interviews, specifically in the business world. Impression management tactics have various categories, and applicants apply these tactics depending on the question being asked (situational or experiential). The use of impression management tactics is considered a problem because the use of these tactics sways the interviewer more favorably toward that applicant. This, in turn, raises questions about if the applicant was really a better applicant than those who did not use impression management tactics. There are many tangible solutions to the issue of the use of impression management tactics in interviews, the primary one being interview structure. The use of impression management tactics will not cease to exist because likeability will always play a role in an interviewer’s decision-making. An applicant cannot be chosen based on measurable qualities alone. However, with increasing interview structure, interviewers will be more aware of the use of these tactics and there will be less wondering about whether or not the applicant swayed the interviewer into employing him or her when someone better suited for the job also applied.

References

BusinessDictionary.com. Structured interview. Retrieved from http://www.businessdictionary.com/definition/structured-interview.html.

Chen, C., Chiu, S., &, Tsai, W.. (2005). Exploring boundaries of the effects of applicant impression management tactics in job interviews. Journal of Management, 31 (1): 108-125.

Ellis, A., West, B., Ryan, A., &, DeShon, R.. (2002). The use of impression management tactics in structured interviews: A function of question type? American Psychological Association, 87 (6): 1200-1208.

Gallo, A.. (2012). Stand out in your interview. HBR Blog Network. Retrieved from http://blogs.hbr.org/2012/09/stand-out-in-your-interview/.

Goman, C.. (2013). Seven tips for spotting liars. Forbes. Retrieved from http://www.forbes.com/sites/carolkinseygoman/2013/05/20/7-tips-for-spotting-liars-at-work.

Leech, B.. (2002). Asking questions: Techniques for semi-structured interviews. Political Science and Politics, Volume unlisted (4): 665-668.

Northwestern University. (2013). Structure of an interview. Retrieved from http://www.northwestern.edu/careers/students/employment-skills/interviews/structure-of-an-interview-.html.

Nunkoosing, K.. (2005). The problems with interviews. Qualitative Health Research, 15 (5): 698-706.

Pulakos, E., &, Schmitt, N.. (2006). Experience-based and situational interview questions: Studies of validity. First published online 7 December 2006. Reprinted from 1995, Personnel Psychology, 48 (2): 289-308.

Quast, L.. (2013). Five tips to create a positive first impression. Forbes. Retrieved from http://www.forbes.com/sites/lisaquast/2013/09/09/5-tips-to-create-a-positive-first-impression/.

The Road We Leave Behind: Some Reflections

Nicole Moore Sanborn

It’s that time of year again … the time when the seniors are about to graduate, the juniors probably can’t wait for them to leave, moments are bittersweet, and this chapter we call “high school” is about to come to a close.  It is hard to believe I’m finishing up my last few writing assignments from Mr. Rush, taking my last high school math tests, rehearsing to perform my last high school play, and playing my last high school soccer season.  That being said, I wanted to take some time to look back on the past few years called “high school,” make some sense of them, and reveal what I have learned.  This is my farewell article.  Graduation is the ending of one chapter and the beginning of another.  It would be silly to say I didn’t learn anything in high school.  I learned a lot.  Between athletics, drama, schoolwork, and personal life, I’ve learned a few lessons.  But, what have I learned?

First, I would like to include some “poems” I have written in past years.  I say “poems” because many of them have no structure.  I suppose they would be free verse poems, in which case they are real poems.

I wrote this one during my sophomore year.  It is titled “Her Fight Inside.”  The goal was to resemble spiritual warfare as well as truth overcoming lies.  It is a rather depressing poem.  Whether or not we experience this particular fight inside our hearts, we will all end up, at some point in our lives, with some fight inside of us.  Truth vs. lies.  Granted, I did steal the title from the song “Fight Inside” by RED, one of my favorite bands.  Here it is:

I wrote this next one after a short-term mission trip to Philadelphia with five other people in my class.  We helped the homeless by working in a soup kitchen and bringing food to them on the street.  I wrote this one in 10th grade as well.  Before writing this piece, I had reached a point of slight brokenness in my life, because I was beating myself up about every little thing.  This one is called “Healing the Broken.”

Brokenness.  It’s everywhere.  All you have to do is turn around a corner and it almost suffocates you.  This is the sad epidemic that Philadelphia and many other places face. Brokenness.  You can find it all around you, everywhere.  You see someone smiling, yet if you look deep into their eyes you can see it.  A girl cracks a smile while inside she is dying.  She turns a corner and the tears flow.  Only when she’s isolated and alone does she let the brokenness show.  Most of us put up a façade of what we want people to perceive us as, when beneath that lies brokenness and scars.  People don’t realize how deep hurt can be, or how prevalent it is in a person’s life.  The only way we can heal the brokenness is first to detect it.  Take the song “Eleanor Rigby” by The Beatles, for instance… “all the lonely people, where do they all come from?”  Frankly, they’re everywhere.  Most of us are just too blind to see it.  If we weren’t so wrapped up in ourselves then maybe we could actually see it, and could then heal it.  Most of us put up that façade of happiness and fake laughter, while truthfully the night before we cried ourselves to sleep or our hearts just ache.  We tell ourselves that we don’t want others to see us broken, that we want them to see us strong.  Yet, if we are truly honest with ourselves, we do want people to know.  Not for pity, but for help and comfort.  We do indeed want somebody to know that we are hurting, so that they can help.  Most people are afraid to let someone in.  They fear transparency and vulnerability.  Yet, deep in their mind, they know that they need someone.  Brokenness is not hidden as easily as some believe.  In reality, if you just look deep into someone’s eyes you can see it.  So, why don’t we?  Why are we so wrapped up in ourselves and getting where we need to go that we can’t help someone else?  What if we looked into someone’s eyes, and asked how they’re really doing?  What if we extended the hand and told them we were there if they ever wanted to talk?  Would it have an impact?  I believe it would.

This next gem was written in 11th grade, during a period of happiness.  It was one of those days where I had inspiration to write, so I wrote.  I wanted to highlight attributes of God while crying out from the perspective of one who wants to heal the broken.  I also desired to reveal struggles some adolescents endure, struggles which aren’t always brought to light.  I entitled it “Help Us.”

The final piece I would like to share was written October of this school year.  I am actually very proud of this one, because it actually has a rhyme scheme.  I did not divide it into stanzas.  Some of the rhymes are rather silly, but bear with me.  It is called “A Reminder for when you Feel Weak.”

Now you’ve seen some of my previous writings and the intentions behind them.  But, what have I learned?  I have learned to solidify what I believe.  I have learned to persevere even through tough times.  I have learned God is sovereign.  He has taken every tough situation I have been through and used it to His glory and for His purposes.  My sophomore year was rough.  I was told many of my close friends were moving away.  Some of them did, but not as many as originally said they may have to move.  I attempted to accomplish everything without God.  I tried to rely on myself, because who else was going to get the work done?  Who else was going to do perfect, yes perfect, in everything?  My mindset became one of striving for perfection continually, without seeking God’s direction and help.  I did not see I could not be perfect and I could not accomplish life on my own.  My mindset toward myself was negative.  I was striving for a perfection that could not be obtained and made myself miserable for not obtaining it.  Every little mistake would trigger a string of negative phrases in my mind.  Why?  Because I stopped seeking God and trusting He would get me through the situation.  I took matters into my own hands, thinking that would fix it.  I stayed away from God because He was taking my friends away.  He was taking the people I cared about away from me, and because of that, I was mad at Him.  So I stopped seeking and decided to take everything on alone.  It took many strained relationships, mental breakdowns, and almost bad decisions before I realized what I had done and why.  Then, I turned around.  I started seeking God’s direction again.  Life got a little bit easier.  I stopped beating myself up every time I made a little mistake.  Strained relationships were gradually healed.  While in those situations, I did not see the good in them.  Looking back, I realize what I learned.  I learned it’s okay not to have all the answers.  It’s okay not to be perfect.  Vulnerability is okay.  Hiding my brokenness will not fix it.  Suppressing the hurt and not allowing others to help does no good.  Even when things get tough (not extremely tough, because I hadn’t gone through a traumatic or life-altering, painful event), God still has a plan.  My brokenness showed me the sovereignty of God.  I remember a phrase a Summit graduate once told me: “Sometimes God has to put you so far down, the only way you can look is up.”

Fast-forward to junior year.  I learned how to trust God even more with my stress.  Junior year was stressful, yes, but with God, it can be handled.  God definitely helped me out with my stress issues.  I learned to trust that He would stretch my time and heal my anxiety.  I continued to learn the unattainability of perfection.  I learned how to challenge myself without stretching myself too thin.  God really blessed me junior year with great relationships, new friends, as well as academic success.  My soccer season was really awesome as well.  I began to love myself for who I was, for who God made me to be, instead of striving for what I could not attain.

What did I learn senior year?  I learned how to trust God even more.  I learned it’s okay not to be the absolute best.  I learned I would not be accepted into every college I applied to.  I learned to cherish those special moments with friends, because time is short.  I learned to revel in the sweet moments, learn from painful moments, and to always keep going.  I learned how LOUD Americans are, and how many people we can fit into one overnight train car.  I learned more than I ever thought I would in a whirlwind European adventure.  I saw exciting and famous artworks and buildings.  I discovered different cultures and realized America has more good things to offer than I previously believed (free bathrooms and water, anyone?).  I learned I could successfully write a senior thesis, the daunting graduation requirement which connotes a much scarier image than is necessary.  I learned everyone’s futures are different, and realized I may never see some of my classmates again.  I realized my class will say “We’ll keep in touch!  Friends forever!” when I know it will not be true.  I learned to be secure in my faith.  I strengthened my faith through 12th grade Bible.  Learning about other worldviews and realizing how devoid of hope and inconsistent they are really solidified what I believe about Christ.  Senior year was amazing, and I learned so much.  I guess this is farewell…

Farewell to you, the future leaders of Summit.  Farewell to morning classes in the youth room (couches!), farewell to cramming three people into a table during class, farewell to the café, to high school drama programs.  Farewell to explaining to people exactly what protocol training and soirée are, and why we have predetermined escorts.  Farewell to our soccer team’s beloved “Clunker,” and to the bus which seemingly breaks down on every Freshman Trip, a trend my class started.  Farewell to discussing Bigfoot in history class, to watching theological debate videos, to walking across a tiny school to get to class.  Farewell to Predestination vs. Free Will debates at any time of the day in a private Christian school.  Farewell to high school athletics, to Ministry Teams, to watching funny and odd videos in the café.  Farewell to the babies crying during Mom2Mom while we are in class.  Farewell to explaining exactly how Summit works to outsiders, farewell to being called “Summiteers.”  Farewell to playing outside during English class in the middle school years.  Farewell to our beloved retreat and Triple R Ranch.  Farewell to school hosted service projects, to days of literally scrubbing the school walls.

The Class of 2013 is leaving a lot behind.  Yet, we look forward to what is ahead.  But, what is ahead?  Uncertainty, new friendships, independence, tested faith, and transformation are what lay ahead.  Meeting new people, without the labels we received in our elementary, middle, and high school days (Oh! You’re the girl who ________ in ___ grade!).  I plan to remember a few wise words of advice given to the Class of 2013.  We will be tempted, and our faith will most likely be challenged.  We will be thrust into the unknown, will be challenged, and life will change.  Decisions will have to be made.  People will change.  Our futures will begin to be shaped.  I believe high school is not only about learning facts and figures but also about discovering independence, learning life lessons, and implementing the facts and figures into our experiences (though you may think you don’t use what you learn in school, you do).  I look forward to what is ahead.

Farewell, readers….

Music Education

Nicole Moore Sanborn

Imagine a world without music … awkward silences in the elevator, no radio in the car, no “pump-up” workout music or concerts, a lack of movie scores, and silent cartoons would be a few noticeable changes.  Imagine Tom and Jerry without music.  Without music, the education system would change.  Music education, worship electives in Christian schools, and music classes would cease to exist.  Musicals would not be performed.  The absence of music changes one’s perception of the world.  The world would be less enjoyable, and everything would change.  Music is direly important to our culture; music education cannot exist without music.  Music is a central aspect of being human.  Music education is very important, as it explores a central aspect of culture and humanity; music education improves human thought processes.  Should we not make an effort to understand something so central to our culture?

The following definitions are paraphrased or quoted from Webster’s New World Dictionary of the American Language.  Music education is the process of training and developing the knowledge, mind, and character of a person in the art and science of music.  By music, I mean the combination of vocal or instrumental sounds or tones that form structurally complete and emotionally expressive compositions.  The scope of music education is through public and private schooling, as well as using music in the home or taking private lessons.  By thought processes, I mean “the power of reasoning, or of conceiving ideas; intellect.”

The history of music education varies by country.  For the purpose of narrowing my scope, only the history of music education in the United States will be discussed.  Music education in the United States began in the Colonial Era (1740s-1780s), especially in New England.  At the time, music education was acquired through singing psalmodies orally, as songs were passed from generation to generation.  The other primary method of music education was called “lining out.”  In this method, a “cantor” speaks or sings a line, and the congregation repeats.  This method was not favored due to its redundant nature and assumed waste of time.  “Lining out” was assumed a waste of time due to its redundancy and ineffectiveness.  The congregation gained familiarity with musical compositions, but not necessarily understanding.  The first music teachers taught singing by individual note, one at a time, and traveled from town to town to teach.  They taught in homes, meeting houses, and saloons.  The skill of reading music was rare.  Those who could read music attended Harvard for further study.  Reformers advocated singing songs note by note, and singing schools were established to teach people how to read music (Keene 10-12).

The development of music education was partially facilitated by John Tufts, who compiled a book of psalm tunes, the first book of music instruction in America.  Notes appeared on the staff with punctuation symbols to indicate length (a period was a half note, colon a whole note, and lack of punctuation represented a quarter note).  His book was used until 1881 and eased the transition from learning each note individually to understanding and seeing the rhythmic pattern of psalms in their entirety.  Thomas Walter wrote Grounds and Rules of Music Explained.  In this work, Walter encouraged singing by note and explained music would be preserved more accurately (as to how the composer intended) through this method.  He also emphasized listening to music as an aid to music education (13-15).  In the 1800s, the previously-established singing schools were further developed.  Singing schools increased in number and popularity, taught a stronger curriculum due to published music education works, and had a particular purpose.  The aim of this development was to supply the church choir with trained musicians.  In addition to voice production and vowel formation, the students learned about clefs, syllables, keys, and note values.  Singing schools became the primary means of music education (19).

From the 1720s-mid 1800s, the tune book was the only readily available text for music education; these were meant for intellectual consideration rather than practice (33).  In performance practices, tempo markings and metronomes were used.  In rhythm, different meters were explored.  Lessons were taught about pitch and key notes, but few books were written on the subject at the time (36-39).

Due to improvement (curricula was further developed and music teachers were more available) in school systems and instruments being manufactured in America, the desire for singing schools decreased.  Serious music students went to study in Europe.  Despite improvement of curricula in America, music education curricula in Europe was further developed (more works had been published and music education was more widespread than in America); the serious music students left America to study under European composers.  European teachers moved to America.  Since America was still a young country, employment opportunities for music teachers were more widespread, enticing European teachers to move.  Music education was moving forward (55-56).

Music education varied by region.  The north consisted of towns who favored education, while the south consisted of counties who viewed education as a luxury (59).  In Virginia, people supported the arts, and musicians made money through playing and singing.  By the late 1780s, patronage stopped in Virginia and musicians found other employment (63-65).  In South Carolina, music education was considered a requirement.  The church had little influence and secular music was popular.  Music instruction was aimed at the sons and daughters of the wealthy.  South Carolina was like a European music capital at this time (65).  By 1780, Philadelphia was one of the top music cities in the country, competing with South Carolina.  Teaching instruments to young ladies was prevalent (69).

In the 18th and 19th centuries, an education reform occurred in America, focusing on reason and nature.  This was in the period of the Enlightenment (78).  William C. Woodbridge changed the teaching system in America, making vocal music a regular part of the school curriculum (89).  Elam Ives set up musical seminars and taught key music concepts.  He was the first to use Pestalozzian concepts in music education (90-91).  Pestalozzianism stressed instruction should proceed from familiar to new, incorporating performance of concrete arts and the experience of emotional responses, paced to follow the gradual unfolding of a child’s development (81-82).  Ives taught Pestalozzianism in his seminars and was a key figure in developing music education in America.

In the 19th century, Lowell Mason, a music teacher who set up singing schools and harmonized psalms and hymns, promoted music education throughout the country.  Earlier in his life, Mason attended singing schools and played multiple instruments.  He believed students must be led to the information by the teacher and did not promote teacher dictation (107).  Mason established singing schools primarily in Boston.  Later, the public school music program was expanded.  However, an enriched curriculum was not developed until the tax-supported school system was enforced.  By 1838, music was an accepted subject in Boston public schools, but it could not exceed two hours per week (114).

Music was added to the curriculum of private academies and select schools, where teachers were paid directly through the students.  Music courses were popular in these schools.  Each school competed with the depth and breadth of music courses offered.  Some schools began to offer so many music courses they resembled conservatories (149-52).  A conservatory is a school specifically designed to focus on music and the arts, with a small focus on subjects such as math, science, and history (outside of music and art history).

As public schools improved and their curriculum was expanded, the pressure for art and music education increased.  While the public schools were being improved, the need for music education was realized on a larger scale than it had been before.

In the midst of the aforementioned history, published books regarding music education emerged.  In 1861, Joseph Bird was the first to attempt and complete the Vocal Music Reader, essentially a song book where the singer reads music.  In 1864, Lowell Mason wrote the first actual music series with Song Garden.  The music series was to be used for more universal music education.  In 1870-1875, Luther Whiting Mason wrote a national music course used in the United States and Germany for over 50 years (189).  In 1883, John Tufts and Hosea Edson Holt wrote Normal Music Course, an attempt at an even more universal curriculum (196).

In the 1870s, some schools began specialized programs for the education of music teachers.  Schools for music teachers evolved from conventions lasting a few weeks.  At this time, there was a growing concern for musicianship and skills necessary to teach vocal music successfully in schools (206-07).  The National Normal Music School was established, using Luther Mason’s National Music Course (212).  Julia Crane wrote a teachers manual in 1887 to influence the training of musical teachers.  She focused on the most beneficial progression of music education for children.  In 1907, the Music Supervisors National Conference met and discussed standard curricula.  Those that did offered detailed courses.  In 1921, the education council of this conference developed a four year plan consisting of ¾ music education and ¼ general studies, specifically designed for music schools.  Course work included piano, voice, theory, ear training, music history, music appreciation, orchestration and methods, and music electives (215-19).

In the 1900s, music performance classes (learning how to play and perform an instrument) began to dominate over music appreciation classes (listening to music and learning its importance).  Instrumental instruction became more widespread in 1900.  In the 19th century, instruction as to how to play instruments was less prevalent (270-72).  The 20th century saw technology advances in music instruction methods and the rise of instrumental music (225).  The conservatory system was developed in the 20th century.  The conservatory system taught music intensively, with the goal to produce excellent performers with broad musical backgrounds.  Conservatories accepted musicians of all aptitudes and declined as public school instruction rose (278-79).

Later in the 20th century, newer approaches to music education came from abroad.  Carl Orff promoted creativity and encouraged memory (343).  Zoltán Kodály’s approach was to learn rhythm and melodic ideas.  He focused on folk music, theory, reading, writing notation, and singing as a basic mode of instruction (347).  The Suzuki method, still popular today, focused on teaching basic principles such as listening and proper playing techniques, as well as motivating and reinforcing the students.  Suzuki taught young children through repetition (350-51).  Now that some history has been given, the relevancy of the issue will be discussed.

Music education is important for all because it is widespread and prevalent in society.  Humans encounter music almost daily whether it is through the radio, in the shopping mall, at work, the television, listening for pleasure, or playing an instrument.  Since music is encountered almost daily, music education is helpful in explaining how something daily encountered works.  Music education is readily available through public schools, private schools, colleges and universities, and private lessons.  Since it is readily available, it has the potential to affect everybody, increasing its importance.  My thesis is relevant because it will help people understand the benefits of music education and why it should be kept in schools.

In order to prove music education improves human thought processes, I will explain first, music education aids the development of language; second, music education aids the development of proper emotional and physiological (bodily) responses; and third, music education improves logic.  I will then refute first, music education hinders learning for those not musically inclined; and second, science and math education are more important and should receive more funding than music education.

My first argument is music education aids the development of language.  The world is understood and described through language.  Though language is not the only way the world is described and understood, it is a primary way.  If one does not have a good basis for understanding language and, as a result, does not understand language, their perception of the world will be different.  Admittedly, everyone’s perception of the world is different before language comes into effect.  However, perception of language alters perception of events and issues.  An example of how language changes one’s perception of the world is reading contracts.  Failure to understand language in contracts can lead to signing something not previously discussed or agreed to.  Understanding how language is used cannot take place until language is acquired, as in understanding phonics and word structure.  Music education aids in the acquisition of phonics and word structure, thereby paving the way for understanding language use (aiding the understanding of everyday conversations and encounters).  A study taken at the Arts Based Elementary School (ABES, a charter school) in North Carolina (the town was not specified) in 2002 divided students in kindergarten through third grade into test and control groups.  At the beginning of the school year, each student was evaluated by three tests.  One was the Broad Reading sections of the Woodcock-Johnson III Tests of Achievement, which tests letter-word identification, reading fluency, and passage comprehension.  The second was the Predictive Assessment of Reading, which measures how well one understands phonetics (phonemic awareness) as well as fluency and name recall.  Phonetics is “the branch of language study dealing with speech sounds, their production and combination, and their representation by written symbols” (“Phonetics”).  The third test was the Auditory-Visual Integration test, a computerized test measuring spatial-temporal tasks.  Spatial-temporal tasks are temporary, short-term tasks completed in a space or area.  The children were evaluated by the same tests at the end of the term, just before Christmas break.  During the study, the test group participated in 18 half-hour lessons with four musicians over a four-month period.  The control group participated in chess lessons during the same period.  Both phonemic awareness and spatial-temporal abilities improved in all grade levels in the test groups.  Overall, the study indicates children in early elementary grades develop stronger bases of understanding phonetics and develop a better understanding of how to read when nine hours of special music instruction are added to their lives (Fox 114-115).  Though other methods can be used in teaching students how to read, such as tutoring and completing reading assignments, the study proves adding music instruction to a child’s life improves reading ability.  Adding nine hours of special music instruction in one, four-month time period (rather than all year) improved students’ ability to read; providing music instruction each year will continue to improve the ability to read.

Results of a brain scan study indicate the brain processes music and language with overlapping ways of thinking, in overlapping structures/parts of the brain.  This evidence corresponds to the assumption music and speech is intimately connected in early life.  Musical elements pave the way to linguistic capacities (the mental ability to understand language) earlier than phonetic elements (phonics, the basics of learning how to speak and read a language) (Koelsch 151).

Music and speech share characteristics such as sound waves, perception through the ear, and conversion to neural impulses.  Processing music and language takes place in the same general brain regions.  Music and language both rely on the perception and processing of “assembled units” combined with tonal features and associated with unique symbols.  These symbols are letters in the case of language and notes in the case of music.  Therefore, music and language are multisensory (Fox 120).  Since music and language share these characteristics, understanding how to listen to music can aid the understanding of language.  The argument which follows is music education can aid the understanding of language.  Music is concerned with the communication of musical ideas.  Speech deals with words and the expression of thought.  Speech and music are both types of communication.  Speech and music are also similar as they entail a degree of precision, but neither more so than the other (Henson 252).

Musical abilities are important in language perception and understanding.  In tonal languages, such as Chinese, changes in pitch lead to changes in word meaning.  In both tonal and non-tonal languages, prosody (the musical features of language, including melody, timbre, rhythm, and meter) is of vast importance for understanding structure and meaning in speech.  Music education improves musical abilities in this regard.  EEG (electroencephalography) studies (brain scanning) revealed similarities in the processing of tonal phase boundaries in language and music.  The studies also showed musical training can make the processing of pitch contour in spoken non-tonal language easier.  The findings of other studies (ERAN and ELAN) indicate an overlap of brain (or neural) resources engaged for the processing of syntax in music and language (Koelsch 145-147).  The musical features of language are important for the structure and meaning of speech.  For example, the rhythm at which a statement is said or the emphasis put on certain words changes the meaning of a sentence.  Likewise in music, dynamics play an important part in the tone and mood of the piece.  Studying musical features of language (such as rhythm and accented notes) aids understanding how music relates to language.  Not understanding the use of language in a sentence (in regards to meaning and intonation) makes one feel as though he does not understand the world around him.  Intonation is “the manner of applying final pitch to a spoken sentence or phrase; significant levels and variations in pitch sequences within an utterance” (“Intonation”).  Music education aids the understanding of language in meaning and intonation.  Since this is the case, one would not as frequently feel as though he does not understand the world due to music education.

Additionally, music lessons expand children’s vocabulary.  Musicians and teachers provide information about their instruments and musical concepts through new language, thereby improving students’ vocabulary (Fox 123).  Knowing and understanding musical words such as “tuba” and “allegro,” as well as other instrument names and terms indicating how a piece of music should be played are meaningful to a vocabulary.  Terms indicating how a piece should be played are predominately Italian.  For example, “allegro” is Italian.  Italian is Latin-based (as are Spanish and French).  Many English words are based on Latin, Italian, Spanish, and French words.  Understanding Italian words as they refer to music will, with the assistance of other studies, aid the understanding of literature and language.  Music terminology facilitates the development of the ability to understand and observe similarities between languages.  As humans, it is in our best interest to understand language and how to communicate with others more effectively, since language and communication skills are necessary in each facet of life (primarily when talking to others).  Music education aids the understanding of vocabulary and thereby aids more effective communication, making music education useful even in talking to fellow human beings.

Grasping language aids our understanding of the world around us, as the world is described through and people communicate through language.  Understanding music through music education aids the comprehension of language because new language is taught to students, which develops their understanding of the world.  As proven above, reading and understanding music through music education helps one know words better.  Knowing words better helps one communicate more effectively on a daily basis, read contracts more effectively, and understand politics, culture, and events better.  Thus, language acquisition and a more developed (better) understanding of language aid the understanding of the world.  As a whole, music education aids the development of language processes in the brain due to the intimate connection between music and language and the applications understanding language through music has on one’s life.

My second argument is music education aids the development of proper emotional and physiological (bodily) responses to reality.  When proper emotional responses are developed, so is a proper understanding of reality.  Learning what emotion the composer was seeking to evoke and how the composer viewed the piece helps the student learn proper emotional responses to music.  What emotion the composer was seeking to evoke can be discovered by observing the description of how the piece is to be played regarding dynamics, or through listening to the song.  Through music education, students will be taught how to react to certain pieces of music.  The teacher explains to the students what emotion the composer was trying to evoke, and points students to this reaction.  Or, the teacher may tell the students how different people react to the piece, and tell them if it is correct.  The accuracy of a reaction is based on the description of how the piece is to be played and listening to it played properly (according to the composer’s description).  A piece played quickly (allegro) with a melodic tone and disparity in loudness and softness (dynamics) would most likely result in excitement in the listener.  The composer determined how the piece should be played to the above specifications.  In music education, the students are taught how pieces are played (loudness and softness, speed, tone).  Students are also taught why they respond to specific pieces with specific emotions.  For example, the teacher explains the quick-moving nature of a piece excites students because of how the human body naturally reacts.  If a student understands why he reacts to certain pieces of music the way he does, he can carry that over to other facets of life.  For example, if a student knows why a piece made him feel excited, he can use the same process previously used to understand why he feels upset in a different situation, not related to music.  Music education provides the student with tools to figure out his emotions because music education uses and teaches the aforementioned tools of observing the source and emotional reaction.  He will analyze said emotion and use the same process in various stages of life.

Music is a means of getting out of a bad mood and reducing tension and anxiety.  The ability to manage moods is extremely important for psychological functioning.  This is because mood influences memory, decision-making, and evaluative judgments (Clarke 89-90).  Better memory, decision-making, and evaluative judgments aid the development of a proper understanding of reality.  Memory influences perception of the world as facts are remembered and applied in daily life.  Decisions and evaluative judgments are made each day regarding little things (what to wear, eat, etc.) and larger issues (where to attend college, how to discipline if in a situation of authority, etc.).  Managing moods (which can be helped through music education), influences decisions and therefore one’s life.  Music can also be used to keep brain cells alive during periods of stress.  Excessive stress destroys brain cells, according to the latest brain research.  Unfortunately, the author I learned this from was not specific and no explanation of the brain research was provided (Leviton 283).

Gilliland and Moore, two researchers studying the immediate and long-term effects of classical and popular music selections, completed an extensive study on how music influences mood and emotion.  One aspect of the study involved taking a picture of a participant before and after listening to a piece of music, in order to illustrate and make a conclusion on how music influences reactions, mood, and emotions.  They concluded from those photographs the appreciation of good music tends to result in improved morale (221).  Good morale is important for a person’s well-being.  Morale is “moral or mental condition with respect to courage, discipline, confidence, enthusiasm, willingness to endure hardship, etc. within a group, in relation to a group, or within an individual” (“Morale”).  A positive mental outlook on hardship, courage, discipline, etc. improves well-being.  Embodying discipline and courage and enduring hardship make one’s life better as a whole.  This is because discipline produces strong work ethic, courage defeats fear, and enduring hardship improves mental and emotional strength.  Music education teaches the appreciation of good music, thereby improving morale and overall lifestyle.

Emotions not only guide our actions, but they also enable expression of how we feel to others and allow for the interpretation of other people (meaning how one reacts to something he is told or how someone else’s emotions are perceived).  Emotional responses for everyday events are part of what make us human (Clarke 82).  If one can understand the world around him better and understand proper emotional responses, interactions with others will also be improved.  Schoen and Gatewood, researchers studying the mood effects of music, performed two studies.  For the purpose of this essay, only the first study will be discussed.  The collection of data indicated musical pieces and compositions produce a change in the emotional state of the listener.  Each composition showed a noticeable uniformity in how it changed listeners’ emotions and responses.  The first study tested 17 men and women, some of them students of the music and drama departments of the Carnegie Institute of Technology, and others of faculty members from the Division of Co-operative Research.  Each participant filled out a mood change chart indicating where they were located, time of day, weather, what music selection they desired to hear, their mood preceding the test, any serious mood changes the music brought about, the selection causing the mood change, and how the mood changed.  Rather than presenting the participants with a selection of moods to choose from, the sheet required participants to record their mood, with the aim of observing accurate mood changes (this, of course, assumes the honesty of the participant).  Preceding the study, each participant was interviewed to determine their musicality and attitude toward music.  The 15 selections used were all instrumental.  The pieces were organized into two overall classes, joyful and serious.  After listening to the selections in a predetermined order, each participant completed a questionnaire indicating the participant’s mood before and after listening to the selection, rating the music (how they liked it, if it was good), and the familiarity of the selection.  A summary of the data was collected, and Schoen concluded the large variety of selections used not only produced a change of mood in practically all listeners, but also the moods induced by each selection or class of selections were strikingly similar in type.  Under the classification of joyful pieces, the moods recorded beforehand were disparate, but afterward, the majority felt joyful.  For example, after listening to “William Tell Overture,” 10 of the 13 listeners felt joyful.  After “Light Cavalry Overture,” 12 of 13 listeners were joyful; after “Shepherd’s Dance,” eight of nine felt joyful.  “Anitra’s Dance” caused seven of eight listeners to feel joyful.  “Pastel-Minuet” caused 13 of 17 to feel joyful, and, finally, “Liebesfreud” caused eight of 12 to feel joy.  Only four of eight listeners of “Aida March” were joyful, however the tabulation of the other data significantly compensates for the 50% feeling joyful after “Aida March” (Gatewood 131-142).  Their study demonstrates not only music has a strong impact on emotion, but also each musical piece tends to have the same impact on a significant percentage of listeners.  In music education, students are taught how to react emotionally to pieces.  Since reactions are uniform to a striking degree for each composition, students can be taught how to emote about a piece.  Emoting about music is the first step.  Emoting properly about music can lead to emoting properly about family situations, because the tools will be developed.  In turn, as learning to emote properly develops, students will learn how to develop proper emotional responses to other, larger issues in the world, such as water crises, debt, politics, wars, etc.  The skill starts small but ends in emoting properly about world issues.  Music education will aid the initial development of the ability to emote properly.

Not only do emotions respond to music, but also the body responds to music (physiological responses).  The brain signals the body to react certain ways to certain pieces of music.  For example, a person might want to begin dancing after listening to a lively piece of music, or sit down and relax after listening to soothing music.  “It has been known for many years that perceptual and emotional musical experiences lead to changes in blood pressure, pulse rate, respiration … and other autonomic (automatic, functions the brain controls sub-consciously) functions” (Harrer 202).  Music, then, not only changes our emotions, but also our body signals.  Studying music helps develop proper emotional responses and proper emotional responses aid a better understanding of reality.  This ultimately helps decision-making for the rest of one’s life.  Improving understanding of reality improves thought processes since the brain also processes reality as it understands reality (as well as when proper emotional responses are developed, as stated previously).  Therefore, since music education improves human thought processes in this regard, it would be foolish to deny any student music education.  Imagine a loved one making poor decisions because he was never taught how to develop proper emotional responses.  While other means to teach the development of proper emotional responses exist (such as parents explaining proper reactions in the home), music education enhances these skills.  Appreciating good music (and learning how to do so through music education) helps students develop more accurate emotional responses than without such music education.

My third argument is music education improves logic.  Music is best taught in an orderly sequence.  Granted, teaching in an orderly sequence works for any subject; like Mathematics, Science, or English, however, it should be experienced through music education due to the other connections music (and music education) has to order and logical thought processes.  New information is best and most easily learned when it builds on what has previously been presented (Fox 136).  Though no “right order” exists for music education universally, the very nature of music (rhythms, theory, scales, etc.) is cumulative, and therefore should be taught as such.  When music is taught in an orderly sequence, students will learn how to see the world in an orderly fashion, as they mimic the order demonstrated in the classroom.  Music is everywhere; thus, seeing music in an orderly fashion will cause students to see this one reoccurring aspect of life and culture in an orderly manner.  Seeing music, an important aspect of culture, in an orderly fashion will later aid a student’s ability to understand other aspects of culture and the world in an orderly fashion.  Since other subjects in school are taught in an orderly fashion, students will see those topics in sequence and all of the subjects will come together in an orderly sequence in their brain through constant exposure to the subjects in an orderly fashion.  Though it may seem this magically happens, the argument is tangible.  Music has an inherent order.  Musical works contain specific rhythms specified in the very beginning.  Though the rhythm may change, a new rhythm is always indicated in the piece.  Scales have a proper order.  Scales (of one octave) consist of eight notes played in ascending order and in descending order.  In music education, students are taught the basic components of musical rhythm and scales, the orderliness of music.  The teacher should explain how to identify order in other areas of life.  The teacher may say something like “Now we see the rhythmic order of the piece, as you identified it.”  You can use this same process, of observing, contemplating, and finding relationships in other areas of life.  For example, analyze the logical sequence of events in this class.”  The student will do so, thereby practicing the ability to recognize order and sequence.  This will aid the development of logical and rational thought processes.

Webster’s New World Dictionary of the American Language defines logic as a “science which describes relationships among propositions in terms of implication, contradiction, contrariety, conversion, etc.; necessary connection or outcome, as through the working of cause and effect” and order as “the sequence or arrangement of things or events.”  Logic does not equal order, but order is a component of logic.  In logic, the sequence of things and events are observed through cause and effect.  The cause leads to the effect through some sequence of events, thus logic has order.  The description of relationships among propositions requires some order, as the description will have an order to it.  Thus logic and order are correlated.  Since logic and order are correlated, viewing a subject in an orderly sequence will aid the development of logical thought processes.

Music and mathematics are also related.  Mathematics is associated with logic.  Music relates very well to mathematics regarding sound frequencies and waves.  Sound waves can be represented in a curved, repeating graph (a sinusoidal graph), commonly used in mathematics.  Music is very math based, as rhythms have an order and sequence and use a counting method.  The production of sound waves in musical notes can best be explained through mathematics.  Tones can be analyzed through bar graphs, once again, relating music to mathematics.  To analyze tones through a bar graph, write the names of the notes in one octave (a series of eight notes in a certain interval on an instrument) on the horizontal axis (F, G, A, etc.) and how loud or soft the note was (either in precise decibel measurements or in common language-loud or soft) on the vertical axis.  Then create a second graph comparing loudness and softness between notes in a different octave, and compare the two graphs.  While simply analyzing information through a graph does not intimately connect a subject matter to mathematics, music and mathematics have a stronger correlation, as shown through the other examples above.  “Acoustics (the physics of sound) has well-developed and sophisticated methods to describe and observe the physical characteristics of the amplitude (power) and frequency (speed of oscillation) duration, and superimposition of wave forms, but this is very different from describing how they are perceived by human beings” (Clarke 68).  Acoustics is directly related to mathematics and physics, as acoustics has methods to describe and observe wave forms produced in music through mathematics, relating music to mathematics more intimately.  Psychoacoustics is also studied in music education.  Psychoacoustics is the study of relationships between acoustical events (such as frequencies, duration, and intensity of notes and sound waves) and their physiological and psychological counterparts (such as pitches, timbres, rhythms, and loudness in music) (170).  Studying acoustics and psychoacoustics in music education gives students a better understanding of how amplitude, frequency, duration, rhythms, pitches, and wave forms relate to mathematics and logicality.  One “real world” benefit of understanding how music relates to mathematics is the career field.  Physicists use wave amplitude, frequency, and duration in their field when studying light and sound waves.  Engineers developing instruments use mathematics skills to evaluate how sound waves will exit the instrument.  Musicians should understand the relation of music and mathematics to help evaluate how to play a piece louder or softer, as well as increase their general understanding of sound waves and their instrument.

If not interested in the aforementioned career fields, understanding music mechanics better through mathematics, acoustics, and psychoacoustics relates to logical faculties for non-musical aspects of life and thought.  Pattern recognition is beneficial for thought processing outside of music.  Noticing patterns in behavior of children can aid the correction of wrong behavior.  Pattern recognition is beneficial for the student in other classes, such as patterns in style of literature, historical patterns, and scientific patterns.  Pattern recognition is also the focus of the science section of the American College Testing (ACT), a standardized test colleges examine the results of to determine a student’s preparedness for college.  The ACT utilizes pattern recognition in each section; however pattern recognition analysis is the primary aim of the science section.  Understanding patterns based on rhythms is taught in music education.  Patterns are presented throughout logic; understanding patterns aids the understanding of logic.  Music education then, in its explanation of rhythms, increases pattern recognition, thereby increasing the understanding of logic, relating music mechanics to logical faculties for non-musical aspects of life and thought.

As explained in the first main argument (relating music to language acquisition), there is no one center in the brain which houses all the neurological correlates (or thought processes and brain functions) of the varied skills understanding music requires.  As someone listens to music, he becomes more critical of music, partially transferring music perception to the left hemisphere of the brain (Storr 37-38).  The left hemisphere primarily controls logical decision-making and critical thinking faculties.  Music education gives students more experience in exercising logical faculties.  As logical faculties are developed, a student will gradually learn how to make rational decisions outside of musical experiences.

David, an autistic boy, suffered from anxiety and poor visual-motor coordination.  He had been trying to learn how to tie his shoe laces for nine months, unsuccessfully.  His audio-motor coordination was discovered to be very good.  He could drum very well and was musically gifted.  His therapist successfully taught him how to tie his shoe laces through a song.  “A song is a form in time.  David had a special relationship to this element and could comprehend the shoe-tying process when it was organized in time through a song” (Storr 33).  Conventional methods failed to teach him to tie his shoes, but teaching him through music was successful.  His logical faculties were advanced in the music realm.  Teaching him how to tie his shoe laces through music was successful because music aided his logical understanding of how to tie his shoes.  The author does not specify whether music helped David’s non-shoe-tying processes.  However, since this has worked once, it has the potential to work again.  Memorizing facts through music has proved successful as well.  The logicality of rhythms helps the brain process facts and commit them to memory.  For example, Kaitlyn Thornton, Elsa Lang, and I still remember the Presidents of the United States song learned six years ago.  The song lyrics were a list of each president’s names in chronological order.  The logical rhythm of music and the order which music is composed of helps the brain understand and remember facts.

Kenneth Wendrich wrote many essays on music education and society.  Langer, who Wendrich refers to, defines music as a logical expression of sentient life.  This is because of music’s characteristics of rhythm and temporal organization.  In music education, students are acquainted with how tones are organized in time and “study those (musical) works which have, by virtue of their position in the culture, engendered the strongest resonance with man’s sentient life” (Wendrich 107).  Wendrich and Langer agree music education resonates and aids man’s sentient, or conscious, thought life.  Because this is true, music education, by its very nature, improves logical thought processes and thereby improves human thought processes as a whole.  Logical thought processes are an aspect of human thought processes as a whole, improving one aspect of thought makes the entirety better, as the whole is composed of parts.  While logic does not equal sentience/consciousness, much analytical and logical thought occurs in the conscious mind.  While some logic occurs subconsciously, humans also think through situations and make decisions consciously.  For example, if one is trying to decide where the most logical place to buy dinner would be, he will (or should) consciously and logically think through how much money he has, gasoline costs, type of food desired, traffic, and location.  This is a sentient act.  Langer and Wendrich argue music education improves man’s sentient (conscious) thought life, logic and sentience are interrelated, thereby correlating sentient acts of reasoning (such as which restaurant to support) to music education.

Music education improves students’ thought processes because it provides them with valuable reasoning processes and a logical brain that will aid them in decision-making for the rest of their lives.  Music education provides students with a logical brain due to the teaching of music in an orderly fashion, music’s relation to mathematics and patterns, the analysis of music in the left hemisphere of the brain, and because music helps the brain learn facts and complete functions.  Music education aids man’s conscious, rational, and logical thought life.

The first argument I will refute is music education hinders learning for those not musically inclined.  This argument says due to the fact music is not the way every individual understands the world, attempting to understand the world through music would ultimately harm some peoples’ way of understanding and cause confusion.  This argument pertains to the manipulation of Gardner’s theory of multiple intelligences.  Manipulators of Gardner’s theory (those who oppose my thesis) argue if an individual is not musically inclined and his musical thinking intelligence is weak or undeveloped, music education would not improve his thought processes.  Howard Gardner of Harvard developed a theory suggesting seven distinct intelligences exist.  His theory attempts to document the extent of the different ways in which students learn, remember, perform, and understand, according to the type of mind each student possesses.  According to Gardner’s theory, everyone is able to know the world through language, logical-mathematical analysis, visual-spatial representation (those who think in terms of physical space and 3-D imaging), musical thinking, physically solving problems and creating items, an understanding of others, and an understanding of ourselves.  However, each individual differs in the strength of each intelligence (Lane).

The aforementioned argument is incorrect for a number of reasons.  First, proponents of the view do not fully understand Gardner’s theory.  Gardner stated everyone is indeed able to know the world through music.  Even if one’s grasp on music is weak and one is not musically inclined, maybe even musically ignorant, he can still understand the world through music.  Although attempting to understand through music may seem challenging at first, as musical ability is strengthened through music education, understanding the world through music will be developed and therefore useful.  Similarly, learning how to read takes time, though it may be challenging at first.  Once grasped, the ability to understand and learn through reading is developed and useful.  One may understand the world better through a different avenue than music; however music education will still improve his thought processes.

Gardner proposed the musically inclined show sensitivity to rhythm and sound, may study better with music in the background, and can be taught by turning lessons into lyrics, speaking rhythmically, and tapping out time.  The musically inclined, therefore, would benefit greatly from music education.  However, the other side of the issue must be addressed here.

Music education aids in the development of logical faculties.  Those who understand best through logical-mathematical analysis benefit from music education because of the logicality of rhythms.  Also, those who understand best through language benefit from music education.  Because the relation of logical-mathematical faculties and language’s relation to music were previously explained in the confirmation, no more will be said here.

Music education also helps those who understand best through visual-spatial representation.  The primary tool visual-spatial representation thinkers use to understand is a model of what is being taught (Lane).  Music education not only uses models (sheet music represented in time and space), but the instruments themselves aid visual-spatial representation thinkers’ understanding.  As the instruments are physical objects (visual-spatial thinkers’ way of understanding), music education aids the development of visual-spatial thinkers’ minds.  Music education also elaborates on the spatial representation of notes on sheet music, thus one’s spatial representation faculties are developed.  Ultimately, if one learns best through spatial representation, they can do so with a better process due to music education.  The use of the body is prevalent in music education because of how one plays a musical instrument.  Thus, proponents of Gardner’s theory who oppose the idea music education improves human thought processes fall short.  Everyone can understand through music to a degree; other intelligences are developed and used in music education.

The second argument I will refute is science and math education are more important and should receive more funding than music education.  Thus, more federal funding (or, in the case of private schools, a greater portion of the budget) should go toward science and math education, and little funding for music education.  Proponents of this view downplay the role and importance of music education in students’ lives.  They say math and science are more prevalent because math is used every day through counting money, math class, science class, computers (as the technology behind computers is math based), and the way the universe is created (angles, geometry, symmetry, etc.).  They argue math and science aid the student more as a whole because it helps him understand subjects so prevalent in the world around him.

While this argument seems valid, it is not totally correct.  Math and science education are very important to a students’ education, true, but the purpose of the argument against it is not to downplay their importance.  Rather, this argument seeks to reveal the importance of music education.  Ample funding and budgeting should be provided for science, mathematics, and music.

Kenneth Wendrich, a writer of essays on the importance of music education, supports the view funding ought to be provided toward music and the fine arts because of their prevalence in society.  Music is played in many public places and the arts reflect culture.  Studying art and music from previous eras reflects on the ideologies of said eras and will aid the student in the understanding of culture before their time.  Due to this, music education should be competing with math and science in budgets and schedules.  Wendrich argues “[t]here must be correlated educational programs, particularly at the secondary school level designed to develop an understanding of art works and the artists who produced them in their contemporary societies. Current curricula in the secondary schools have been something less than effective in developing the desired level of understanding in the arts” (72).  Wendrich is not arguing only for music education but fine art education as a whole.  Fine arts education is “any of the art forms that include drawing, painting, sculpture, and ceramics, or, occasionally, architecture, literature, music, dramatic art, or dancing” (“Fine Art”).  Wendrich argues there must be educational programs to develop an understanding of art and the ones in existence have failed.  Funding should indeed go toward music, with the intention of developing better programs.

A seminar held at Yale in 1963 discussed ways to improve high school music programs.  The programs required improvement due to lack of teachers and materials.  With more funding, programs can hire more teachers and acquire ample materials.  One of the seminar’s recommendations was a music literature course for all high school and middle school students should be designed.  This music literature course would develop musical understanding through listening, analysis, and discussion of a limited number of representative compositions.  The project assumed the development of musicality is the primary aim of music education, musicality has a lot to do with the ability to accurately express a musical idea (specifically through rhythm and pitch), and musicality has a lot to do with the ability to understand a musical statement by ear (Wendrich 74).  The seminar saw music education so important each middle school and high school should offer a music literature course.

Admittedly, the world has changed momentously in the 50 years since the seminar at Yale.  But even in a technology-driven world, music is still worth time away from math and science.  Science and mathematics are not more prevalent in society than music, nor should they be.  Though society is technology-driven, music is still a central aspect of culture.  Music is played in many public places such as elevators, the grocery store, radio, waiting rooms in doctors’ offices, and countless others, as expressed in the introduction.  Music scores are still developed in movies.  Take the recent film Les Misérables, for example.  The actors sang from the beginning to end of the film.  Understanding music’s powerful effect on emotions, as well as understanding music mechanics better, may increase one’s enjoyment of the film (the effort put forth and the beauty of the music).  Though the film was also technology-driven, as the graphics, filming, and lighting were brought about by technology, music still played an important role.  While math and science contribute greatly to the creation and development of technology, music is still worth time off of math and science.

Funding should be provided for music for more reason than its prevalence in society.  First, a disparity of subjects increases the diversity of education.  Rather than only teaching the subjects considered as “core” subjects (Math, Science, English, and History), students should be offered more opportunities and outlets.  Music is a means of getting out of a bad mood and reducing tension and anxiety (Clarke 89-90).  Second, the Bible emphasizes singing and worship.  In the book of Psalms, David sings songs of worship to the Lord.  After crossing the Red Sea, the Israelites praise God through song and worship.  Those are two of many Biblical examples where music is used to worship God.  Since music is a means of worshipping God, funding should be provided for music education, as musical worship will be enhanced when those worshipping are musically educated.  Science and math education are not more important than music education, and more funding should be provided for music education.

Imagine, again, a world without music.  The nature of entertainment would change.  Background music would be absent everywhere.  The education system would change.  Music education and music are central parts of being human.  Do you desire to aid the development of language, proper emotional responses, and the ability to think clearly and logically in your children and other loved ones?  If so, providing them with music education can and will aid your endeavors, ultimately increasing their well-being.  Music education improves human thought processes; denying loved ones of this would be a poor decision.  Due to the benefits of music education, it should be kept in schools.  I challenge you to enroll in a music course, learn how to play an instrument, or buy a basic music theory course from the local music store, and seek and support music education.

Works Cited

Clarke, Eric, Nicola Dibben, and Stephanie Pitts. Music and Mind in Everyday Life. Oxford University Press: Oxford, England, 2010. Print.

Fox, Janet and Peter Perret. A Well-Tempered Mind: Using Music to Help Children Listen and Learn. Dana Press: New York, New York, 2004. Print.

Gatewood, Esther and Max Schoen. “The Mood Effects of Music.” The Effects of Music: A Series of Essays. Ed. Max Schoen. Kegan Paul, Trench, Trubner & Co.: 1927. Routledge: London, England, 2001. 131-151. Print.

Gilliland, A.R. and H.T. Moore. “The Immediate and Long-Time Effects of Classical and Popular Phonograph Selections.” The Effects of Music: A Series of Essays. 211-222.

Guralnik, David B., ed. Webster’s New World Dictionary of the American Language. 2nd ed. 1976. Print. “Fine Art,” “Intonation,” “Morale,” and “Phonetics.”

Harrer, G. and H. Harrer. “Music, Emotion and Autonomic Function.” Music and the Brain: Studies in the Neurology of Music. Eds. MacDonald Critchley and R.A. Henson. Charles C. Thomas: Springfield, Illinois, 1977. 202-216. Print.

Henson, R.A. “The Language of Music.” Music and the Brain: Studies in the Neurology of Music. 233-254.

Keene, James A. A History of Music Education in the United States. University Press of New England: Hanover, New Hampshire, 1982. Print.

Koelsch, Stefan. “Neural Substrates of Processing Syntax and Semantics in Music.” Music that Works: Contributions of Biology, Neurophysiology, Psychology, Sociology, Medicine, and Musicology. Eds. Vera Brandes and Roland Haas. Springer-Verlag/Wien: Vienna, Austria, 2009. 143-153. Print.

Lane, Carla. “Multiple Intelligences.” “The Distance Learning Technology Resource Guide.” N.p. n.d. Web. 28 January 2013.

Leviton, Richard. Brain Builders! A Lifelong Guide to Sharper Thinking, Better Memory, and an Age-Proof Mind. Parker Publishing Company: West Nyack, New York, 1995. Print.

Storr, Anthony. Music and the Mind. Macmillan, Inc.,The Free Press: New York, New York, 1992. Print.

Wendrich, Kenneth. Essays on Music in American Education and Society. University Press of America: Washington D.C., 1982. Print.

Chocolate Dreams: Ghirardelli Style

Nicole Moore Sanborn

This article will take a look at one of the world-renowned chocolate companies, Ghirardelli Chocolate.  The major highlights in the history of this institution will be observed, from the company’s meager beginnings to present times.  A list of some of Ghirardelli Chocolate Company’s products will be included.  I hope you will enjoy this delightful look at this chocolate company founded in our very own country.

In 1849, Domingo Ghirardelli immigrated to the United States from Italy, harboring dreams of striking it rich in the California Gold Rush.  Domingo attempted, and failed, at mining, and instead settled on opening a tent store in Stockton, California, selling various supplies and confectioners to miners.  Several months later, due to the success of his store in Stockton, he opened a second store on the corner of Broadway and Battery in San Francisco, his first establishment in the city.  Unfortunately, a major fire in 1851 destroyed his business.  The fifth of a series of San Francisco fires destroyed approximately 1,500 buildings, including Ghirardelli’s Battery Street location.  A few days later, a runaway fire leveled half of Stockton, and Domingo’s two businesses disappeared.  Domingo rebuilt.  After the fires, he consolidated his salvaged assets and opened the Cairo Coffee House on San Francisco’s Commercial Street.  Much to Domingo’s dismay, the Cairo Coffee House proved unsuccessful.  He did not give up.  Domingo formed a new confectionary company called Ghirardely & Girard on the corner of Kearny and Washington.  Ghirardely & Girard was to become the modern-day Ghirardelli Chocolate Company with over 150 years of traditional chocolate manufacturing.  Business flourished, and Domingo sent for his family, who, though Italians, resided in Peru. He changed the company name to Mrs. Ghirardelli & Co.  Records show the company imported 200 pounds of cocoa beans in that year (a high amount for the time period), a number that would continue to increase as the company grew.  In 1853, the company was moved to the corner of Jackson and Mason.  Business continued to flourish, and the company moved again in 1855 to the corner of Greenwich and Powell.

1865 brought an important observation in the factory.  By hanging a bag of chocolate in a warm room, the cocoa butter drips out.  This leaves a residue that can be processed into ground chocolate.  This technique is called the Broma process and is generally used in chocolate manufacturing.  By 1884, the company had over 30 employees and shipped products all over the Western and Eastern United States, China, Japan, and Mexico.  Business boomed.  The company dropped its previously developing line of wine, cordials, and liquors, and sold only coffee, chocolate, and spices.  1893 left the company needing additional space once again.  The company purchased the Pioneer Woolen Mill Building on San Francisco’s northern waterfront.  Manufacturing moved to the new location.  This is the present location of Ghirardelli Square.  Yes, there is not only the Ghirardelli factory in San Francisco, but it is called the Ghirardelli Square!  I want to go to San Francisco for this reason and many others, as I am a chocolate aficionado.  In 1900, six years after Domingo’s death, the company sold its coffee and spice business, limiting products to chocolate and mustard (yes, you read that correctly, mustard…).  A two-story warehouse was built on North Point Street, now called the Cocoa Building.  The business grew in the “Roaring Twenties.”  In 1923, the company added two stories to their Cocoa Building.  The four-story structure became the base for the 15-foot-high illuminated letters spelling “Ghirardelli.”  The sign was visible for miles, and, as a result, became a welcoming sight to ships passing through the Golden Gate.

In 1963, the Golden Grain Macaroni Company, owned and operated by the De Domenico family, purchased the Ghirardelli Chocolate Company.  Included in the purchase was the company name, products, formulas, and equipment.  Ghirardelli Square underwent a renovation and officially opened as a festival marketplace on November 29, 1964.  The renovation included shoring up old buildings and strengthening them structurally.  San Francisco declared Ghirardelli Square an official city landmark in 1965.  Production facilities moved to San Leandro, California in 1967.  Northwestern Mutual Life Insurance Company and Real Property West (companies with established ties to San Francisco) became the new owners of Ghirardelli Square in 1968.  The companies pledged to maintain the flavor and integrity of Ghirardelli upon making this purchase.

The owners applied for and were granted National Historic Register status for Ghirardelli Square in 1982, and the management at the Square sought to enhance and improve the ambience of the Square.  To accomplish this, more greenery, trees, and flowers were added to the landscaping.  New outdoor umbrellas enlivened (and continue to enliven) the interior of the Square, contributing to the visual appeal and atmosphere.  Ghirardelli Square became a model for the restoration of classic buildings throughout the country, with more than 75 tenants offering cuisine, art, and merchandise from around the word.  The company changed hands again in 1986, when the Quaker Oats Company acquired Golden Grain and Ghirardelli Chocolate.  Quaker Oats sold the Ghirardelli Chocolate division to a private investment group headed by John J. Anton and the Thomas H. Lee Company in 1992.  At this time, John J. Anton became the president and CEO of the Ghirardelli Chocolate Company.

1998 brought another stark change in management for the beloved chocolate company.  Lindt and Sprungli Chocolate, out of Switzerland, acquired Ghirardelli Chocolate Company as a wholly-owned subsidiary of its holding company.  The largest plant expansion in its history began for Ghirardelli Chocolate Company.  The expansion included 50,000 square feet of new production and 20,000 square feet of laboratory and office space.  In 1999, the company launched one of my favorite kinds of chocolate ever: their famous filled Squares chocolates, including their ever-popular flavor Milk Chocolate with Caramel Filling.  Ghirardelli Squares are quite famous and are one of my favorite chocolate desserts.  Their deliciousness is difficult to match.  In 2002, Ghirardelli Chocolate celebrated its well-deserved 150th Anniversary.

In 2003, Ghirardelli opened its first Factory Store at the site of the headquarters and manufactory in San Leandro, California.  Ghirardelli Chocolate Company launched its first national television advertising campaign in 2004.  Also in 2004, the company launched its first limited edition flavors, inspired by the holiday seasons’ most popular flavors: Peppermint Bar and Eggnog.  2005 brought the re-launching of its Dark Squares chocolate with new and improved recipes and became the first widely-available chocolate to declare cacao content on its packaging (60% cacao, etc.).  Ghirardelli launched its first national print advertising campaign for its baking chocolate in the same year.  Also in 2005, Ghirardelli Ice Cream and Chocolate Shops launched a new Dark Chocolate version of their hot fudge sauce.  In 2006, Ghirardelli introduced new Intense Dark Bars with luxuriously deep and velvety chocolate fused with sophisticated ingredients (according to their boastful website; I have not tasted this product).

I will now take time to discuss their Ghirardelli Chocolate Squares, which are the whole reason I am writing my article on Ghirardelli.  On the bag I just finished of the Ghirardelli Squares (I’ve been eating it slowly; this bag has been mine for quite some time) is written “Take time to slow down and savor each bite of intense, slow-melting Ghirardelli Squares chocolate.  You’ll experience the perfect balance of chocolate intensity and rich ingredients.  Enjoy as the chocolate pleasure lingers and time stands still.”  The flavors of squares advertised on the bag I currently have (not all of these flavors were in the bag) include milk caramel, peanut butter, dark, mint, raspberry, and dark caramel.  Each type of square is delicious, and I highly recommend experiencing Ghirardelli chocolate for yourself (you know, for that delicious, first-hand research).

Ghirardelli also sells chocolate bars of many different varieties.  Varieties of bars tend to have fillings in them, basically a larger version of their Squares.  Flavors (of their bars with fillings) include caramel, mint, orange, raspberry, and strawberry.  Also manufactured are the sea salt bar and peppermint bark.  Some specialty bars include Sublime White Cookies Jubilee Bar, Sublime White Vanilla Bean Dream Bar, 32% Cacao Creamy Devotion, Gourmet Milk Coconut Rendezvous, Intense Dark Cabernet Matinee, Intense Dark Toffee Interlude, Intense Dark Hazelnut Heaven, as well as Intense Dark chocolate bars with 60%, 72%, and 86% cacao.  The three intense dark bars are branded as the Cacao Evening Dream, the Cacao Twilight Delight, and the Cacao Midnight Reverie, respectively.  Ghirardelli also manufactures a five-pound chocolate bar!  Ghirardelli also manufactures drink mixes.  Among them include two types of hot cocoa mix: double chocolate and chocolate mocha; Ghirardelli also makes a premium white mocha mix.  Coffee mixes include whole bean coffee, white mocha coffee set, as well as the double chocolate coffee kit.  Two kinds of frappes are manufactured: double chocolate and classic white.  Ghirardelli makes chocolate, white, and caramel sauce and baker’s chocolate. Products also include chocolate covered delicacies.  Among these delicacies are almonds, cherries, blueberries, espresso beans, malt balls, peanuts, raisins, pretzel balls, wafers, and nonpareils (the little chocolate chips with the white dots on them, very tasty).

Ghirardelli Square holds a chocolate festival each year.  Tickets are bought, and people travel to this festival in masses.  In 2013, the festival will be held on September 14th and 15th.  Festival goers have the opportunity to experience the latest “chocolate trends” while surrounding themselves in the rich history of one of America’s longest-operating chocolate companies.  The festival began in 1996 and has been held each year since.  The festival has been a tremendous success, so much success the festival has extended down to Beach Street and occupies the Plaza in San Francisco Square as well as an entire San Francisco block.

I am a chocolate aficionado myself.  However, chocolate, like any sugary treat, is to be enjoyed in moderation.  I am not trying to sound like your mother attempting to steer you away from sweets.  Consuming too much chocolate is damaging to health, as it has little nutrients and is high in calories and fat (compared to fruit and vegetables).  I love chocolate; however, I felt as a responsible writer I should warn my readers of consuming chocolate in excess.  I encourage you to taste and enjoy Ghirardelli’s delicious treats.  I have tried very few of the abundance of products listed previously in this article.  I have not seen most of these products in stores in the area.  However, if you go to http://www.ghirardelli.com, a full list of their products can be observed, and you can search which stores to buy their products as well as check out the “Ghirardelli Online” button.  The “Ghirardelli Online” button is one of the three small buttons and is the blue one.  These three buttons are listed below the price of each product (which is listed below each product).

I hope this article has been enjoyable.  I also hope you will sample for yourself the delicious products the Ghirardelli Chocolate Company has to offer.  I also hope this sampling has provided insight into the history of this beloved company.

Source

http://www.ghirardelli.com